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    Psychedelic Distortions and Glitches Streak Across Alexis Mata’s Bold Paintings

    All images courtesy of Alexis Mata and The Hole, shared with permission

    Psychedelic Distortions and Glitches Streak Across Alexis Mata’s Bold Paintings

    December 20, 2024

    Art

    Grace Ebert

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    From digital glitches to mind-bending distortions, Mexico City-based artist Alexis Mata is interested in how visual information gets lost or skewed as it shifts from one context to another. In his oil paintings, bouquets and vast desert landscapes spread across the canvas as if melting or stretching into unrecognizable forms. “When your eyes look too long at the same thing, your mind makes the change,” he shares.

    Mata excavates the relationship between analog and digital realms, and his process incorporates both modes of artmaking. Preliminary sketches fill notebooks that travel everywhere the artist does, while he continually snaps photos and records video as references.

    AI experiments help Mata better translate the strange, disorienting outcomes that these rapidly evolving tools can produce. But his research isn’t just visual. “I enjoy experimenting by writing poems or haikus in AI and seeing what emerges. It’s an exploratory process,” he notes.

    Rendered in bold color palettes, the trippy paintings draw connections between digital mishaps and the ways our brains warp an image, whether in moments of intense focus, dream states, or with the help of hallucinatory substances. “I like to think that entire worlds are created within dreams, and these worlds ask to be brought into the light,” he says.

    Many of the paintings shown here are on view in Fata Morgana through January 25 at The Hole in Tribeca. Explore more of Mata’s work, which spans stained glass and textiles to drawing and sculpture, on his website and Instagram.

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    Three Women Artists Gather for The Jaunt and Hashimoto Contemporary’s ‘Winter Camp’

    Seonna Hong, “Rest as an Act of Defiance” (2024), acrylic, oil pastel, and tape on raw canvas, 51 x 65 inches. All images courtesy of The Jaunt and Hashimoto Contemporary, shared with permission

    Three Women Artists Gather for The Jaunt and Hashimoto Contemporary’s ‘Winter Camp’

    December 12, 2024

    Art

    Kate Mothes

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    Through a unique collaboration between The Jaunt and Hashimoto Contemporary, three women artists spent a week together in the small town of Shelton, south of Olympia National Park.

    Hiking, delving into the area’s history, and learning about each other’s work, Bianca Nemelc, Genevieve Cohn, and Seonna Hong participated in the first Winter Camp. Given space and time away from their daily routines, the artists were invited to find inspiration from their new surroundings.

    Genevieve Cohn, “We Sow a Softness” (2024), acrylic on canvas, 36 x 24 inches

    The Jaunt was founded in 2013 by Jeroen Smeets, who curates the project and facilitates travel for artists to destinations worldwide. The program doesn’t assign a specific agenda or brief; the primary goal is to provide new experiences that inspire the creative process.

    Cohn, Hong, and Nemelc focused predominantly on painting and works on paper, responding to the act of gathering and the lush, natural environment of the Pacific Northwest.

    “Sharing common threads and divergent paths amongst each other’s experiences as artists and women navigating the world, the week-long residency allowed artists from different locales, backgrounds, and generations to create community,” says a statement about the program.

    Winter Camp is on view at Hashimoto Contemporary’s San Francisco location through December 21. Find more on the gallery’s website, and you can also explore more from The Jaunt.

    Bianca Nemelc, “Sun Catcher” (2024), acrylic on canvas, 50 x 60 inches

    Seonna Hong, “Get Your Bag” (2024), acrylic and oil pastel on raw canvas, 30 x 24 inches

    Genevieve Cohn, “To Hold, To Harbor” (2024), acrylic on canvas, 48 x 36 inches

    Bianca Nemelc, “Flower in Breeze” (2024), acrylic on canvas, 30 x 24 inches

    Genevieve Cohn, “Exercises in Attention” (2024), acrylic and conté on paper, 30 x 22 inches

    Seonna Hong, “Investigations” (2024), acrylic and oil pastel on raw canvas, 30 x 24 inches

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    Ethereal, Glowing Curtains Drape Over Lake Michigan in Reuben Wu’s Light Paintings

    Ethereal, Glowing Curtains Drape Over Lake Michigan in Reuben Wu’s Light Paintings

    December 10, 2024

    ArtPhotography

    Kate Mothes

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    Along the Lake Michigan shoreline, Reuben Wu (previously) created a unique confluence of light shows over the water last summer. Known for creating light paintings in dramatic landscapes using drone-mounted lasers, his ongoing series SIREN marks a new direction of illuminated “aeroglyphs,” which transcend their original geometries to open up into more fluid shapes.

    “This series captures ephemeral, curtain-like structures that hover delicately in space, shaped by their environment rather than imposing upon it,” Wu says. The cascading white forms mimic the lake’s rolling waves and, on this particular evening amid a Perseids meteor shower, the surprise appearance of the northern lights. See more on his website.

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    Colossal’s Top Articles of 2024

    Image courtesy of Wally Dion

    Colossal’s Top Articles of 2024

    December 10, 2024

    ArtColossalDesignHistoryNaturePhotography

    Colossal

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    Throughout 2024, we were awed by archaeological finds, vibrant paintings, striking sculptures, remarkable photography, immersive installations, and so much more. It’s tough to choose only 10 top articles for the year!

    Lucky for us, dear Colossal readers, you’ve helped pick the best. Below, dive into our most-read stories on the site during the past twelve months, and find hundreds more in the archive.

    “Untitled (after François Gérard)” (2023), oil on canvas, 100 x 80 centimeters. Images © Ewa Juszkiewicz, courtesy of Almine Rech

    Ewa Juszkiewicz’s Reimagined Historical Portraits of Women Scrutinize the Nature of Concealment

    From elaborate hairstyles to hypertrophied mushrooms, an array of unexpected face coverings feature in Ewa Juszkiewicz’s portraits. Drawing on genteel likenesses of women primarily from the 18th and 19th centuries, the artist superimposes fabric, bouquets of fruit, foliage, and more, over the women’s faces.

    Image courtesy of Greg Jensen

    A Rare Cross-Section Illustration Reveals the Infamous Happenings of Kowloon Walled City

    At its height in the 1990s, Kowloon Walled City in Hong Kong housed about 50,000 people. Its population is unremarkable for small cities, but what set Kowloon apart from others of its size was its density. For a now out-of-print book titled Kowloon City: An Illustrated Guide, artist Hitomi Terasawa drew a meticulous cross-sectioned rendering of the urban phenomenon to preserve its memory.

    Image © Isak Finnbogason

    Remarkable Drone Footage Captures a New Volcanic Eruption in Iceland

    In January, photographer and drone pilot Isak Finnbogason captured stunning footage of an eruption on Iceland’s Reykjanes peninsula in December, documenting the nearly two-mile-long lava vent on the first day it was active. 

    “Water Lilies in Bloom” (2023), oil on canvas. Image courtesy of Erin Hanson

    Landscapes Radiate Light and Drama in Erin Hanson’s Vibrant Oil Paintings

    In vivid pinks, blues, and greens, radiant landscapes emerge in Erin Hanson’s impressionistic oil paintings. The artist is based in Oregon’s Willamette Valley, where the rolling hills and surrounding mountain ranges cradle miles of vineyards.

    Image © Richard Johnson

    Framed by Frozen Lakes, Richard Johnson’s ‘Ice Huts’ Capture Wintertime Communities in Canada

    Every year, Ontario’s 279-square-mile Lake Simcoe draws more people for its ice fishing than any other lake in North America, attracting upwards of 4,000 huts each year. The colorful villages caught the eye of Toronto-based architectural photographer Richard Johnson (1957-2021), who captured hundreds of the structures, from the artistic to the ad-hoc, in a series of bold portraits taken between 2007 and 2019.

    Image courtesy of the Italian Ministry of Culture / AFP Photo

    Archaeologists Discover an Extraordinary 2,100-Year-Old Mosaic Near the Colosseum

    Early this year, we shared news that the Italian Ministry of Culture had a remarkable find in the heart of Rome. In the late Republican era, a luxurious townhouse had been laden with designs made from shells, glass, white marble, and Egyptian blue tiles. A large “rustic” mosaic dating to the last decades of the 2nd century B.C.E.—a little over 2,100 years ago—was likely inspired by the decorative styles of Near East monarchies.

    ‘The Whole Booke of Psalmes.’ London: Company of Stationers, 1643. Image courtesy of The Grolier Club

    Spanning Seven Centuries, ‘Judging a Book by its Cover’ Celebrates an Enduring Art

    The Grolier Club’s exhibition, Judging a Book by its Cover, highlighted some of the most unique editions within its collection, including a pigskin- and brass-bound Jewish Antiquities and the Jewish War created for a Benedictine monastery in Bavaria around 1473—the oldest in the club’s library. The collection also features several religious texts, like the miniature book of psalms shown above, made by women at the Royal Exchange in London with a variety of silk and gold threads.

    Image courtesy of Wally Dion, shared with permission

    Vivid, Translucent Quilts by Wally Dion Stitch Together Indigenous Culture and Making Traditions

    For many rural and economically strapped communities throughout history, quilting was a necessity. Tattered clothing and blankets were cut up and refashioned into new blankets, their patchwork styles evidence of the fabrics’ earlier uses. For Indigenous people, though, quilts “hold a particularly important cultural value,” says artist Wally Dion, “appearing as gifts, ceremonial objects, and celebratory markers.”

    “লয় [Loy]” (2019), Arjunpur Amra Sabai Club, Kolkata. Photo by Vivian Sarky. Image courtesy of Asim Waqif

    Immersive Bamboo Installations by Asim Waqif Whirl and Heave in Monumental Motion

    In his monumental, swirling structures, Delhi-based artist Asim Waqif merges tenets of architecture and sculpture into sweeping site-specific compositions. Using natural materials like bamboo and pandanus leaves, he often incorporates found objects, scaffolding, sound elements, cloth, and rope.

    “Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. Image courtesy of JiSook Jung

    From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

    JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”

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    Inside Miniature Dioramas, Flying Saucers Drift Across Extraterrestrial Landscapes

    All images © A House of Wonders, shared with permission

    Inside Miniature Dioramas, Flying Saucers Drift Across Extraterrestrial Landscapes

    December 6, 2024

    ArtCraft

    Jackie Andres

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    Within the confines of a small, ovoid frames, Caroline Dewison, of A House of Wonders, crafts miniature scenes laden with remarkable detail. Building upon previous mystical vistas inspired by the woodlands surrounding her studio in Warrington, England, the artist’s most recent ventures forge a deeper path toward the otherworldly.

    Hovering above minuscule streams and valleys, UFOs contrast sharply against Dewison’s hand-painted nature scenes. The artist has been fascinated by the possibility of beings on other planets since childhood and continues to explore this speculation.

    “In my lifetime, it’s gone from there being just us to scientists finding hundreds and thousands of exoplanets, many with the possibility of life,” she explains. “I would like to think that we’re not alone.” Within each diorama, the flying saucers are cleverly affixed to jut outward from two-dimensional backgrounds, furthering a sense of depth.

    Along with revisiting her lifelong interest in the extraterrestrial, the artist has also rekindled her relationship with automata. She relishes problem-solving and the logistical aspects of constructing kinetic pieces, sharing, “I love working out how to create a moving piece of art and really enjoy engineering the mechanism to add life to my work.” As a result, the tiny UFOs make a dynamic appearance as well, rotating and drifting above foreign crop circles and thickets of pine.

    While Dewison still mainly works with laser-cut plywood, Jesmonite, acrylic paint, clay, and a 3D-printing pen, she is also working on constructing new designs for frames.

    A busy year is ahead of the artist. Dewison’s work is currently on view as part of Small Works | Big Impact at Momentum Gallery in Asheville, and later this month, her dioramas will be featured in the Oddities and Curiosities Expo in Melbourne with Beinart Gallery. Find Dewison’s miniatures for sale in her shop, A House of Wonders, and keep an eye on Instagram for new work, upcoming shows, and more.

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    In a Resounding ‘Renaissance,’ Conrad Jon Godly’s Acrylic Paintings Scale Alpine Peaks

    “RENAISSANCE # 21” (2024), acrylic on canvas, 39 3/8 x 47 1/4 inches. All images courtesy of JD Malat Gallery, shared with permission

    In a Resounding ‘Renaissance,’ Conrad Jon Godly’s Acrylic Paintings Scale Alpine Peaks

    November 27, 2024

    Art

    Kate Mothes

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    Through the deft manipulation of thick acrylic paint on canvas, Conrad Jon Godly summons snow-capped peaks, tumbling mountain springs, and shifting weather.

    At JD Malat Gallery, the Swiss artist (previously) presents his largest body of work to date, RENAISSANCE, which follows a four-year hiatus. Godly is open about the mental health struggles that prevented him from painting, and in addition to his return to the gallery setting, the title refers to his experience of a “rebirth” as he overcame personal strife.

    “RENAISSANCE # 03” (2024), acrylic on canvas, 23 5/8 x 19 3/4 inches

    Godly is known for his dramatic impasto depictions of mountain landscapes, which were historically created using oil paint. In this new series, he has transitioned to acrylic, which dries much faster and lends itself to opacity. He conveys the striking beauty of the Swiss Alps through fundamental compositional elements like texture, form, and tonal shifts.

    Viewed up close, Godly’s paintings melt into near-abstraction as our attention is drawn to the qualities of the paint and the interaction of light and shadow. Farther away, the meticulously formed edges and gestural brush strokes reveal the crisp outlines of snow, rock, waterfalls, and storms.

    RENAISSANCE will inhabit both floors of the gallery in London and run from December 12 to January 18. In the meantime, see more on the artist’s website and Instagram.

    “RENAISSANCE # 06” (2024), acrylic on canvas, 23 5/8 x 19 3/4 inches

    “RENAISSANCE # 34” (2024), acrylic on canvas, 59 x 51 1/8 inches

    “RENAISSANCE # 25” (2024), acrylic on canvas, 47 1/4 x 39 3/8 inches

    “RENAISSANCE # 43” (2024), acrylic on canvas, 70 7/8 x 90 1/2 inches

    “RENAISSANCE # 29” (2024), acrylic on canvas, 59 x 51 1/8 inches

    “RENAISSANCE # 07” (2024), acrylic on canvas, 23 5/8 x 19 3/4 inches

    “RENAISSANCE # 28” (2024), acrylic on canvas, 47 1/4 x 39 3/8 inches

    “RENAISSANCE # 05” (2024), acrylic on canvas, 23 5/8 x 19 3/4 inches

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    Masks and Make-Believe: Children Traverse ‘Paper Stories’ in José Luis Ceña’s Paintings

    “Little Red Riding Hood” (2024), oil on linen, 71 x 71 inches. All images courtesy of José Luis Ceña, shared with permission

    Masks and Make-Believe: Children Traverse ‘Paper Stories’ in José Luis Ceña’s Paintings

    November 26, 2024

    Art

    Kate Mothes

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    Elaborate, imaginary worlds open up around the youthful characters in José Luis Ceña’s oil paintings. Brushy, splattered, and sometimes fuzzy around the edges, his protagonists don homemade costumes and traipse through forts made from sheets and boxes.

    “I believe that addressing the topic of children more deeply in my paintings came about as a result of having my two children,” the artist tells Colossal. “Living with children makes you realize issues you thought were forgotten.”

    “Pig Mask” (2024), oil on canvas, 40 x 40 inches

    Ceña focuses on play to illuminate the contrast between the innocence of youth and what he describes as “the decay of the world we are leaving behind.”

    In his most recent series, Paper Stories, kids wear masks and traverse a make-believe, cardboard world. Made of quotidian materials, the scenes transform into fantastical realms filled with animals, dinosaurs, and exciting mysteries.

    The psychology of costumes and concealment take on a metaphorical role in Ceña’s paintings, reflecting how people conform to the actualities of adulthood and society. “We wear (these masks) every day, trying to project an image of ourselves that, in most cases, doesn’t align with the reality we live,” the artist says. “This is especially evident in our use of social media.”

    Vibrant landscapes are often devoid of depth, as if cut from paper and layered to form a stage-like set. These flattened scenes “suggest that these worlds are destined to dissolve, to fold in on themselves,” Ceña says, adding that “solitude is a silent protagonist.”

    The work shown here was recently on view with Galerie LeRoyer, and you can explore more of Ceña’s work on Instagram.

    “Cardboardzoic” (2024), oil on canvas, 31 1/2 x 31 1/2 inches

    “Oasis” (2024), Oil on canvas, 31 1/2 x 31 1/2 inches

    “The Bird” (2024), oil on canvas, 31 1/2 x 31 1/2 inches

    “Treasure Box” (2024), oil on canvas, 24 x 24 inches

    “The Bird II” (2024), oil on canvas, 31 1/2 x 31 1/2 inches

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    Metaphysical Landscapes by Eliot Greenwald Illuminate the Mutuality of All Life

    “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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