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    Metaphysical Landscapes by Eliot Greenwald Illuminate the Mutuality of All Life

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    “Letter to the Center of the Lake” (2024), oil stick and acrylic on canvas over panel, diptych, 72 x 94 x 2 inches. All images courtesy of the artist and HARPER’S, shared with permission

    Metaphysical Landscapes by Eliot Greenwald Illuminate the Mutuality of All Life

    November 8, 2024

    Art

    Kate Mothes

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    For Eliot Greenwald, humankind and the landscapes we occupy are essentially one in the same. Cycles of life, death, and rebirth may diverge from being to being, but the artist considers all existence to be fundamentally interconnected and substantially the same.

    At HARPER’S in Chelsea, Greenwald’s solo exhibition Library continues to explore the artist’s fascination with landscape and the metaphysical, inviting us to explore a surreal realm of otherworldly botanicals, double moons, and enigmatic pathways.

    “Ask the Arrow” (2024), oil stick and acrylic on canvas over panel, diptych, 72 x 94 x 2 inches

    In oil stick and acrylic, Greenwald often repeats motifs of trees and mountains through variations in light and hue, nodding to the cyclical nature of the seasons and how the time of day or year influences how we perceive the world around us.

    The artist also incorporates vehicles that wind their way through the scenes and illuminate their surroundings. “These miniature automobiles stand in for the human vessel itself—a subtle reminder that even the most engineered facets of the Anthropocene are just one piece in the grander puzzle of existence,” says a gallery statement.

    In addition to Greenwald’s organically-shaped canvas pieces, Library also includes sculptural elements, like “Library of Paper Towels,” a tiny, freestanding room filled with books covered in colorful paper.

    Made of reclaimed wood salvaged from an 18th-century barn in western Massachusetts, where the artist lives, the repository contains hundreds of hand-bound books made from paper towel. Employing a material made expressly to be used and thrown away, the artist reckons with the way knowledge is gained, shared, preserved, and valued.

    Library continues through December 7 in New York City. Find more on the artist’s website and Instagram.

    Installation view of ‘Library’

    “Detail of Library of Paper Towels” (2024), wood, hardware, hat light, extension cord, and artist books, 110 x 50 x 50 inches

    “Blanket Drapes with its Fringe” (2024), oil stick and acrylic on canvas over panel, 78 x 47 x 2 inches

    Detail of “Blanket Drapes with its Fringe”

    “Not A Franz West” (2024), oil stick and acrylic on canvas over panel, 95 x 47 x 2 inches

    “Wind Doesn’t Suck, It Blows” (2024), oil stick and acrylic on canvas over panel, diptych, 72 x 94 x 2 inches

    Detail of “Wind Doesn’t Suck, It Blows”

    Installation view of ‘Library’

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      A Sprawling Garden Opening Next Spring Embodies Van Gogh’s ‘Starry Night’

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      Photos by Almin Tabak. All images courtesy of Starry Night Retreat, shared with permission

      A Sprawling Garden Opening Next Spring Embodies Van Gogh’s ‘Starry Night’

      November 4, 2024

      ArtDesignNature

      Kate Mothes

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      Two decades ago, Halim Zukic purchased a 173-acre plot of land in a verdant valley near his hometown of Visoko, Bosnia and Herzegovina. He conceived of a retreat, where his love of nature and landscape design could open to the public. But it wasn’t until 2018 that the businessman and art enthusiast began replicating details of one of the world’s most recognizable paintings on an enormous scale.

      While working on the property one day, Zukic observed some tractor tracks that reminded him the swirls and waves of Vincent van Gogh’s seminal work from 1889, “The Starry Night.” With plenty of motivation but less of a clear plan, he and an amateur team intuitively followed the contours of the land and made numerous adjustments over time to achieve visual and spatial harmony.

      The elaborate design for Starry Night Retreat, which employs lavender and a variety of other herbs as its medium, is characterized primarily by the absence of straight lines. The estate encompasses a 25-acre park within its overall footprint, which includes meeting places like a natural amphitheater.

      The project “honors Vincent van Gogh and those who bravely pursue their passions despite the sacrifices required,” says hospitality manager Merjem Zukić. “Mr. Zukic views the retreat as a unique space where nature and art blend, enabling visitors to reconnect with essential elements of their being and engage their senses.”

      Starry Night Retreat is slated to open to the public next May. Find more on its website.

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    • 125 Shares189 Views

      in Art

      Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings

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      Detail of “Brighid” (2024), oil on canvas, 100 x 130 centimeters. All images courtesy of Andrew McIntosh, shared with permission

      Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings

      September 25, 2024

      Art

      Grace Ebert

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      Nested in rusted caravans or hovering above vast landscapes, small glowing orbs reminiscent of the sun, stars, and otherworldly technologies populate Andrew McIntosh’s latest body of work.

      On view with James Freeman Gallery for the British Art Fair, The Calling conjures McIntosh’s interest in mystery and magic. The London-based Scottish artist often evokes the lush, dramatic landscapes of Romantic paintings, which he recasts with a supernatural bent.

      “Étaín” (2024), oil on canvas, 170 x 130 centimeters

      Pieces like “Étaín” and “Brighid” recall McIntosh’s earlier works that tuck entrancing portals into travel trailers, a symbol of the adventurous spirit. These newer paintings similarly position wide ocean views inside the mobile homes, contrasting the immense scale of the sea with the tiny confines of the caravan.

      The Calling also steps back to take a broad look at natural wonders. Expansive landforms like the St. Kilda archipelago in Scotland and Mount Everest are veiled in a hazy wash of oranges and pinks, and the illuminated orbs float along their edges.

      These works explore “how the wilderness worldwide, such as the mountain faces of Everest and K2, has the power to act as host for the inexplicable and the mysterious,” McIntosh shares, adding that they “speak to (a) need to engage with something greater, something beyond our physical substance.”

      The Calling is on view from September 26 to 29. Find more from McIntosh on his website and Instagram.

      “Plate II: Suilven” (2024), oil on canvas, 110 x 130 centimeters

      “St Kilda Lights” (2024), oil on board, 42 x 23 centimeters

      “Brighid” (2024), oil on canvas, 100 x 130 centimeters

      “Everest Lights” (2024), oil on linen, 35 x 40 centimeters

      “St Kilda Caves” (2024), oil on linen,53 x 33 centimeters

      “Meant to climb” (2024), oil on linen, 50 x 30 centimeters

      “Odyssey” (2024), oil on canvas, 100 x 130 centimeters

      “K2 Lights” (2024), oil on linen, 35 x 40 centimeters

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