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Six Acclaimed Artists Interpret Ecology and the Landscape for ‘Ground/work 2025’

by Aurelia Butler 21 August 2025, 18:57

Hugh Hayden, “The End.” Photo by Thomas Clark. All images courtesy of the artists and The Clark Institute, Williamstown, Massachusetts, shared with permission

Six Acclaimed Artists Interpret Ecology and the Landscape for ‘Ground/work 2025’

August 21, 2025

ArtNature

Kate Mothes

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Across the expansive 140-acre grounds of The Clark Institute in Williamstown, Massachusetts, six contemporary artists have been invited to create site-specific works engaging with the property’s meadows, trails, and woods, while highlighting their individual practices.

Sculptures by Yō Akiyama, Laura Ellen Bacon, Aboubakar Fofana, Hugh Hayden, Milena Naef, and Javier Senosiain dot a variety of sites, from manicured parkland to open fields to groves of trees.

Laura Ellen Bacon, “Gathering My Thoughts.” Photo by Joe Aidonidis

Bacon, whose ethereal sculptures made of malleable twigs seem to move, has installed the nine-by-five-foot “Gathering My Thoughts” in a wooded area. Made from willow sourced from Ohio, the piece appears to writhe like a living, growing form.

Hayden has constructed a larger-than-life ribcage—species unknown—made of locally sourced hemlock punctuated by dozens of branches that poke out in every direction. Partly camouflaged amid the trees, the work invites us to consider themes of ecological vulnerability, extinction, and the climate crisis. Following the exhibition, the piece will be allowed to decompose on-site, mirroring the way animal remains also eventually vanish back into the earth.

Fofana’s installation of two botanical forms, titled “Bana Yiriw ni Shi Folow (Trees and Seeds of Life),” is the artist’s first public art piece. He draws upon his spiritual belief in the divinity of nature, incorporating rolls of African cotton dyed with indigo, representing seeds, into a curling metal frame.

Other works include Senosiain’s vibrant sea creature, installed in a pond, along with Akiyama’s conical monolith evocative of scorched wood and Naef’s marble slabs that merge with the negative spaces of a fallen tree.

Aboubakar Fofana, “Bana Yiriw ni Shi Folow (Trees and Seeds of Life).” Photo by Thomas Clark

Curated by independent scholar Glenn Adamson, the exhibition provides the opportunity to experience contemporary art in a natural setting. Olivier Meslay, Hardymon Director of the Clark Art Institute, says:

The Clark’s campus becomes an accomplice, of sorts, in helping us to see and appreciate each artist’s particular vision and the interconnection between art and nature. With this edition of Ground/work, our guest curator…has intentionally blurred the line that traditionally separates the consideration of art and craft, urging us to appreciate the art that is inherent in all forms of craft.

Ground/work 2025 continues through October 2026, with free access day or night, 24/7, on The Clark’s campus. Plan your visit on the museum’s website.

Hugh Hayden, “The End” (detail)

Javier Senosiain, “Coata III.” Photo by Thomas Clark

Yō Akiyama, “Oscillation: Vertical Garden.” Courtesy of the artist and Joan B Mirviss LTD. Photo by Thomas Clark

Laura Ellen Bacon, “Gathering My Thoughts” (detail). Photo by Joe Aidonidis

Aboubakar Fofana, “Bana Yiriw ni Shi Folow (Trees and Seeds of Life)” (detail). Photo by Thomas Clark

Milena Naef, “Three Times Spannin.” Photo by Thomas Clark

Yō Akiyama, “Oscillation: Vertical Garden” (detail). Courtesy of the artist and Joan B Mirviss LTD. Photo by Thomas Clark

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In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale
by Aurelia Butler 5 August 2025, 18:20
Lorraine Loots, “Pasta Amatriciana.” All images courtesy of the artists and Paradigm Gallery + Studio, shared with permission
In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale
August 5, 2025
Art
Kate Mothes
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From Manhattan to San Diego to Cleveland, neighborhoods known for their Italian-American populations have endearingly been called Little Italy, where facets of the Mediterranean nation’s culture and cuisine are preserved and celebrated. For artists Lorraine Loots and Dina Brodsky, who both create work on a very small scale, a trip to Italy and a collaborative body of work proved to be a wonderful way to explore this theme quite literally.
Little Italy, Brodsky and Loots’ duo exhibition on view now at Paradigm Gallery + Studio, chronicles the artists’ trip to the country through itty bitty paintings. Loots works in watercolor, while Brodsky composes in oil, and each draws upon the landscapes, architecture, food, and cultural icons—think Vespas, pizza, spritzes, and the Colosseum—that we associate with La Dolce Vita. Framed, Loots’ works are only five inches across, while Brodsky’s tiny tondos encapsulate vast landscapes within a three-inch diameter surface.
Dina Brodsky, “Florence, Ponte Vecchio”
Brodsky and Loots—based in Massachusetts and South Africa, respectively—first connected during the pandemic, inspired by each other’s interest in working in a tiny format. During the trip, they each experienced the place through their unique lens, tapping into memories and associations. Brodsky, who was born in Belarus and whose family traveled as refugees from the Soviet Union to the U.S. in the 1980s, spent a brief period in Italy during this relocation. The nation’s bucolic countryside and ancient architecture stuck with her over time.
Loots was long fascinated by Italy’s architectural and cultural heritage, and during the trip, she wandered the cobbled streets and plazas with two heirloom film cameras, snapping photos which she then developed once she returned home and used as reference for tiny watercolor paintings.
In Little Italy, some of Loots’ photographs, along with some of Brodsky’s sketchbooks, illustrate the two artists’ approaches to recording their experiences. The exhibition continues through August 24 in Philadelphia, and you can find more on the gallery’s website.
Lorraine Loots, “Vespa”
Dina Brodsky, “Bagnoregio”
Lorraine Loots, “Bialetti”
Dina Brodsky, “Rome, Golden Hour”
Lorraine Loots, “Fontana di Trevi”
Dina Brodsky, “Orvieto, Dawn”
Lorraine Loots, “Colosseo”
Dina Brodsky, “Siena, Dawn”
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A New Book Cultivates a Rich Survey of 300 Magnificent Gardens
by Aurelia Butler 15 July 2025, 20:45
Taylor Cullity Lethlean with Paul Thompson, Australian Garden, Cranbourne Gardens, Victoria, Australia (2006 and 2012). Photo by John Gollings
A New Book Cultivates a Rich Survey of 300 Magnificent Gardens
July 15, 2025
ArtBooksDesignNature
Grace Ebert
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From the humble backyard plot to the royal Water Theatre Grove at Versailles, gardens have long been a source of sustenance, beauty, and spiritual communion. A forthcoming book from Phaidon sprouts from this history as it celebrates how these sites of joy and grandeur endure throughout the ages.
The Contemporary Garden travels to 300 green spaces across 40 countries, surveying the everlasting link between horticulture, nature, and aesthetics. Included in its 300-plus pages are private and public spaces in a wide array of styles, from wild plots in urban centers to impeccably trimmed topiaries to designs that prize water features as much as foliage.
While the book peers into some gardens only accessible to a few, many of its pages highlight well-trodden areas open to the public, like New York’s elevated Little Island, designed by Heatherwick Studio. Perhaps unsurprisingly, several spaces also double as outdoor galleries—including the High Line in Manhattan—or are artworks themselves. In the latter category is Gabriel Orozco’s The Orozco Garden, which bridges sculpture and horticulture through intricately laid brickwork and overgrown grasses at South London Gallery.
Bridging natural sciences with art and design, The Contemporary Garden showcases how, even in this increasingly digital age, green spaces continue to be one of humanity’s perennial fascinations.
Slated for release in late September, The Contemporary Garden is available for pre-order in the Colossal Shop.
Kim Wilkie for the 10th Duke of Buccleuch, Orpheus, Boughton House, Kettering, Northamptonshire, England, 2009. Photo by Kim Wilkie
Louis Benech and Jean-Michel Othoniel, Water Theatre Grove, Château de Versailles, Versailles, France (2015). Photo © EPV/Thomas Garnier
Dominique and Benoît Delomez, Jardin intérieur à ciel ouvert, Athis-de-l’Orne, Normandy, France, (2000–11). Photo courtesy of Benoît and Dominique Delomez
Erik Dhont, Bonemhoeve, Damme, West Flanders, Belgium, (2005). Photo © Jean-Pierre Gabriel
Gabriel Orozco, The Orozco Garden, South London Gallery, London, England, (2016). Photo by Andy Stagg
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Seth Armstrong Sets the Hills of Los Angeles Aglow in Vibrant Oil Paintings
by Aurelia Butler 20 June 2025, 17:00
Seth Armstrong Sets the Hills of Los Angeles Aglow in Vibrant Oil Paintings
June 20, 2025
Art
Kate Mothes
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Capturing the magical glow of the golden hour, the rich blue of early evening, and the butter-yellow of morning, Seth Armstrong transports us to Southern California in his ongoing series of oil paintings. Bright bungalows, electrical lines, palm trees, and shrubs dot the foothills that shape Los Angeles, with the San Gabriel Mountains often rising in the background.
Greenery plays a central role in Armstrong’s suburban portraits, revealing and concealing roads, homes, and infrastructure—evocative of the city’s reputation as a place where any dream seems possible. Yet its sprawling neighborhoods, immense wealth, and locus of the entertainment industry tend to obscure undercurrents brought to light by recent immigration protests or last year’s devastating wildfires.
Next month, Armstrong opens a solo exhibition titled Subrosa at Unit London, borrowing from the Latin phrase “under the rose,” signifying secrecy or discretion. The artist draws upon his own observations of his L.A. neighborhood during long, early-morning walks with his young son.
Viewed from a distance, the hillside neighborhoods appear idyllic, even paradisiacal, but he hints at out-of-frame elements in this city constantly in flux: simmering socio-political tensions, scorched mountains and fire-leveled homes, and palpable economic disparities. Sometimes people are present, half-hidden in windows and often only noticeable when viewed up-close. “There’s substance behind the forms,” Armstrong says. “Sometimes you get a peek inside. Sometimes you don’t.”
Subrosa runs from July 9 to August 17. See more on Armstrong’s website and Instagram.
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In Surreal Portraits, Rafael Silveira Tends to the Garden of Consciousness
by Aurelia Butler 29 May 2025, 14:15
“Magnetic” (2025), oil on canvas, 23.62 × 23.62 inches. All images courtesy of the artist and DCG Contemporary, shared with permission
In Surreal Portraits, Rafael Silveira Tends to the Garden of Consciousness
May 29, 2025
Art
Kate Mothes
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With scenic vistas for faces, blossoms for eyes, or nothing but coral above the shoulders, Rafael Silveira’s surreal portraits summon aspects of human consciousness that span the spectrum of the wonderful and the weird. The Brazilian artist describes his work as “a profound dive into the human mind,” merging flowers, landscapes, and uncanny hybrid features into visages that channel humor with a slightly sinister undertone.
Silveira’s forthcoming solo exhibition, Agricultura Cósmica at DCG Contemporary, traverses “the fertile terrain of the subconscious,” the gallery says. “With a nod to pop surrealism and the uncanny, his work imagines the mind as a garden where thoughts are seeds and images (are) the wildflowers that sprout.”
“PLEEESE” (2025), oil on canvas, 23.62 × 23.62 inches
Silveira works predominantly in oil, using panel or canvas as a surface and occasionally surrounding his works with ornate, hand-carved wooden frames. The sculptural details of the frames, like an anatomical heart in “Eyeconic Couple” or an all-seeing eye topping “A Crocância do Tempo” — “the crunchiness of time” in Portuguese — read like talismans.
Many of Silveira’s compositions begin with a traditional head-and-shoulders portrait composition as a starting point, but instead of skin we see a distant horizon, like in “Magnetic,” or a figure’s head supplanted by a stalk of coral or a column of fire. Other pieces omit the human outline altogether in amusing arrangements of vivid flowers, which suggest wide eyes and addled expressions. While human forms shed their emotional autonomy as they converge with their surroundings, the flora in works like “OMG” and “PLEEESE” are a profusion of awe and desire.
Agricultura Cósmica opens in London on June 12 and continues through July 10. The show runs concurrently alongside an exhibition titled Plural by embroidery artist Flavia Itiberê. See more on the artist’s website and Instagram.
“Eyeconic Couple” (2025), oil on panel and hand-carved frame, 15.75 × 35.43 inches
“Inside Out” (2025), oil on canvas, 35.4 x 31.5 inches
“A Crocância do Tempo” (2025), oil on panel and hand-carved frame, 35.4 x 31.5 inches
“The Artifice of Eternity” (2025), oil on canvas, 23.62 × 31.5 inches
“OMG” (2025), oil on canvas, 23.62 × 23.62 inches
“Paixão Ardente” (2025), oil on panel and hand-carved frame, 35.4 x 31.5 inches
“The Roots of Reality” (2025), oil on canvas, 35.4 x 31.5 inches
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Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages
by Aurelia Butler 12 May 2025, 13:34
“Torn Spin” (2025). All images courtesy of the artist and Hashimoto Contemporary, shared with permission
Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages
May 12, 2025
ArtNature
Kate Mothes
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Smeared, flattened, and rough around the edges, Gregory Euclide’s mixed-media collages explore nature through the lens of human experience. Organically meandering outlines suggest shallow reliefs; foraged prairie botanicals complement human-made materials; and abstracted landscapes emerge from drawings, photographs, ripped paper, paint, and more.
“The artist tears and layers these elements to build a new pictorial space which more accurately resembles the way he takes in the land,” says a gallery statement for Assembled Lands, Euclide’s solo exhibition opening later this week with Hashimoto Contemporary.
“Torn: Double Sun” (2025)
Breaking down his observations of nature into its fundamental parts, Euclide merges overviews of trees, shrubs, meadows, and the horizon with the intimate details of leaves or branches. One might approach his subject matter through the lens of the Anthropocene, which describes our present era of accelerating changes to the environment due to humans’ unrelenting impact.
Each collage (previously) merges recognizable forms and terrain with abstract shapes and compositional spirals or whorls. The effect toys with perception and our understanding of relationships between flatness and depth, land and sky, and nature and ourselves.
Assembled Lands runs from May 17 to June 14 in New York City. See more on the artist’s website.
“Washed Up On The Beach 2” (2025)
“Plat Map” (2025)
“Torn: Silhouette” (2025)
“Random Invader Memory” (2025)
“Torn Landscape Spun” (2025)
“Torn: Forest Silhouette” (2025)
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From Miniature to Massive, Boundless Landscapes Spill Out of Frame in Barry Hazard’s Paintings
by Aurelia Butler 28 April 2025, 16:27
“Whirlwind” (2023), 7 x 9 x 1.5 inches. Images © the artist, shared with permission
From Miniature to Massive, Boundless Landscapes Spill Out of Frame in Barry Hazard’s Paintings
April 28, 2025
Art
Jackie Andres
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Confined within tiny, ornate frames until inevitably spilling over the edge, Barry Hazard’s expansive landscapes are “spaces for reflecting, contemplation, and surrendering to something larger and more timeless than us,” he says.
Inspired by vast notions such as the relationship between humans and nature and ecological conflict, Hazard (previously) translates broad themes into miniature works. The Brooklyn-based artist employs tiny frames, wood panel, and acrylic to depict a multitude of scenes from mudslides and flower farms to glaciers and snowy roads. With so much contained in such small compositions, Hazard describes his process as “a simple way to rapidly engage in an artistic process, with an ultra-manageable scale.”
“Flower Farm” (2024), 6 x 5 x 7 inches
Last year for New York’s Upstate Art Weekend, the artist expanded upon his miniature work, delving into a project on the opposite end of the scale of proportions. “Walk-In Painting” culminates Hazard’s carpentry and muralist experience, uniquely activating his otherwise tiny paintings. Viewers are able to step into a rolling scenery teeming with vibrant blooms, tufts of bushes, and sweeping mountains in the distance, creating an experience that is “both fictional and non-fictional,” the artist explains.
Hazard has also ventured into the realm of batch production through the technique of resin casting. While the artist typically uses more traditional materials for his small works, he has been able to create a sizable amount of gifts for friends and family by creating numerous blank casted bases before painting each by hand.
Find more work on the artist’s website, and take a look into his process on Instagram.
“Mudslide” (2024), 9 x 7 x 2 inches
“Walk-In Painting” (2024), 8 x 10 x 7 feet
“Purple Plain” (2023), 1 x 1.5 inches
“Sunset Glacier” (2023), 9 x 8 x 2 inches
“Flood Zone” (2024), 8 x 7 x 3 inches
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In Hyperrealistic Oil Paintings, Chloe West Summons Magical Realism in the American West
by Aurelia Butler 10 April 2025, 15:14
“Gored Cowboy” (2024-25), oil on linen, 84 x 68 inches. All images courtesy of the artist and HARPER’S, New York, shared with permission
In Hyperrealistic Oil Paintings, Chloe West Summons Magical Realism in the American West
April 10, 2025
Art
Kate Mothes
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Set against mountains, desert plains, and the cobalt blue skies one finds at high elevations, Chloe West’s striking oil paintings merge Dutch Golden Age iconographies with both mythic and everyday motifs of the American West.
West was born and raised in Wyoming, the peaks and pastures of which continue to influence her hyperrealistic figurative works. In her current solo exhibition, Games of Chance at HARPER’S, the artist draws on European portraiture and still life traditions in a series of self-portraits and tableaux challenging stereotypes of the West as a frontier molded by machismo.
“Cowboy Philosopher” (2024-25), oil on linen, 84 x 68 inches
“Cowboy Philosopher,” for example, portrays the artist in direct confrontation with the viewer, seated beside a mountain lion skull at a table covered with a celestial tapestry. The painting evokes Salomon Koninck’s “A Philosopher” (1635) and works by other Flemish artists of the 17th and 18th centuries, who often depicted alchemists and scholars in their studies accompanied by skulls, devices, and documents.
West subverts our understanding of cowboy culture as predominantly masculine, juxtaposing her own body with bones, small weapons, and fabric backdrops that establish a tension between life and death, folklore and daily life, and the sacred and the profane. Animal bones, thorns, and knives nod to memento mori, a reminder of the impermanence of life, while also invoking the supernatural and a sense of cyclical time. Casting deep, dark shadows, the glaring sun reveals all.
Portraying herself in western wear, West bonds to the continuum of the landscape and its customs and narratives while considering the way European attitudes and actions like Manifest Destiny shaped our understanding of the region. The artist taps into legend, history, and magical realism to blur distinctions between the past and contemporary experience. “Ultimately, throughout Games of Chance, West confronts the idealization of frontier heroism, dismantling its pre-established boundaries and expanding upon the legacy it left behind,” the gallery says.
Games of Chance opens today and continues through May 10 in New York City. Find more on the artist’s website and Instagram.
“Hand with Opossum Skull” (2024-25), oil on linen, 24 x 20 inches
Detail of “Gored Cowboy”
“Trapper’s Still Life” (2024-5), oil on linen, 48 x 38 inches
“Pearled Back” (2024-25), oil on linen, 58 x 46 inches
“Portrait with Capped Skull” (2024-25), oil on linen, 58 x 48 inches
“Pocketknife” (2024), oil on linen, 16 x 12 inches
“St. Veronica at the Geyser Basin” (2024-25, oil on linen, 48 x 38 inches
“Hand with Thorn” (2024-25), oil on linen, 24h x 20w in
Detail of “Cowboy Philosopher”
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Sebas Velasco’s Dreamy Oil Paintings Illuminate Cinematic Urban Landscapes
by Aurelia Butler 9 April 2025, 14:36
“Somewhere in Time,” oil on canvas, 195 x 195 centimeters. All images courtesy of Sebas Velasco and the History Museum of Bosnia and Heregovina, shared with permission
Sebas Velasco’s Dreamy Oil Paintings Illuminate Cinematic Urban Landscapes
April 9, 2025
Art
Kate Mothes
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Sebas Velasco (previously) has long been drawn to the landscapes and cultures of the Balkans and former Yugoslavian countries in southeastern Europe, where he has spent the past decade traveling and researching for his large-scale paintings and murals.
The Morning Will Change Everything at the History Museum of Bosnia and Heregovina marks the Spanish artist’s first institutional exhibition. Inspired by the title of a song by Sarajevo-based band Indexi, the show continues Velasco’s exploration of urban landscapes and themes of relationships and passing time.
“Wherever I May Roam,” oil on canvas, 195 x 195 centimeters
Rendered in oil on wood or canvas, Velasco’s paintings depict figures, architecture, and old cars illuminated by street lamps or headlights in a realistic yet dreamlike world. Taking cues from photography through the use of cinematic lighting effects and portraiture, he often juxtaposes contrasting elements like grassy meadows with brutalist high-rises or derelict cars with wildflowers.
Whether glowing under an orange street light or spotlit against a fuzzy smattering of brake lights and apartment windows, Velasco’s subjects are relaxed, poised, and unhurried. One can imagine the din of car horns, music, and other city noises in the background, yet Velasco emphasizes brief, self-assured interactions as if momentarily, time is at a standstill.
Nighttime plays a starring role in Velasco’s compositions, which tap into dualities of the known and unknown, revelations and secrets, individuality and anonymity, and the quotidian and the extraordinary. He conjures “gateways to complex socio-economic narratives,” the museum says, emphasizing the power of humanity amid ever-evolving identities and the tumult of globalization.
Find more on Velasco’s website and Instagram.
Detail of “Wherever I May Roam”
“Golf II,” oil on wood, 41 x 27 centimeters
“The Morning Will Change Everything,” oil on wood, 120 x 120 centimeters
“Agata,” oil on wood, 81 x 65 centimeters
Detail of “Agata”
“Yugo 45 III,” oil on wood, 24 x 35 centimeters
“Interior Night Sarajevo II,” oil on wood, 46 x 33 centimeters
Velasco working on a painting in his solo exhibition at the History Museum of Bosnia and Heregovina
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landscapes

Latest story

Six Acclaimed Artists Interpret Ecology and the Landscape for ‘Ground/work 2025’

More stories

In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale

A New Book Cultivates a Rich Survey of 300 Magnificent Gardens

Seth Armstrong Sets the Hills of Los Angeles Aglow in Vibrant Oil Paintings

In Surreal Portraits, Rafael Silveira Tends to the Garden of Consciousness

Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages

From Miniature to Massive, Boundless Landscapes Spill Out of Frame in Barry Hazard’s Paintings

In Hyperrealistic Oil Paintings, Chloe West Summons Magical Realism in the American West

Sebas Velasco’s Dreamy Oil Paintings Illuminate Cinematic Urban Landscapes

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