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    Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life

    “American Airlines Passenger Ticket 1 (after Warhol)” (2023), oil on canvas, 32 x 59 inches

    Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life

    February 7, 2025

    ArtClimate

    Kate Mothes

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    For Jessica Taylor Bellamy, juxtapositions, transparency, and layers shape a way of working that evokes her family history and notions of home and landscape. Born to an Ashkenazi Jewish mother and an Afro-Cuban Jamaican father, Bellamy was raised in Whittier, just southeast of Los Angeles.

    In glowing oil paintings, she draws from personal mementos like photographs, sales receipts, and newspaper clippings to explore the relationships between utopia and dystopia, humans and nature, image and text, and fantasy and reality.

    “Did She Nail It?” (2025), oil on canvas, 26 x 20 inches

    Bellamy portrays sunsets, landscapes, trees, urban streets, flora, animals, and cloud formations in a kind of dreamy washiness, adding patterns like chainlink fences, gates, and lace curtains suggestive of boundaries. Horizontal landscapes overlaid with American Airlines tickets echo Andy Warhol’s 1960s silkscreen prints of SAS airline tickets merged with floral motifs.

    “Bellamy’s observations are rooted in her experiences of the sprawling urban landscape of Los Angeles—a meeting of nature and civilization at the edge of a precarious paradise, formed by fire, drought, flood, and wind,” says a statement from Anat Ebgi, which represents the artist and opens her new solo exhibition, Temperature Check.

    A few works shown here, like “Did She Nail It?,” appear in the show, which merges landscapes and atmospheric lighting effects with references to DIY culture, what’s gendered as “men’s work,” and car and motorcycle culture. The Home Depot receipt, which typically uses the slogan “Did we nail it?,” is combined with an image of a rear-view mirror depicted so close that it initially appears abstract.

    Bellamy examines the dualities and precarity of life in Southern California—a seeming paradise we’ve witnessed can be swiftly devastated by fire and drought. The title Temperature Change is also a double entendre, suggesting meteorological readings and a figurative expression used when measuring a group mood or opinion. Through surreal imagery and echoes of mass production and consumerism, the artist invokes a noir reverie.

    Temperature Check runs from February 8 to March 22 in Los Angeles. Find more on the artist’s website and Instagram.

    “Box Fan (AM)” (2025), oil on canvas, 57 1/2 x 32 inches

    “American Airlines Passenger Ticket 2 (after Warhol)” (2023), oil on canvas, 32 x 60 inches

    “Playa Larga (Coquina Combination Pill Pack)” (2023), oil on canvas, 23 3/4 x 42 1/2 inches

    “A Subspecies of Journalism” (2023), oil on canvas, 59 x 43 1/2 inches

    “A Splendid Paradox” (2022), oil on canvas, 70 x 52 inches

    “Curtain of Sky” (2024), oil on canvas, 57 1/2 x 48 inches

    “Horizontal Thrust I (Blue graffiti highway)” (2025), oil on canvas, 26 x 70 inches

    “Driveway Moment” (2025), oil on canvas, 57 1/2 x 47 inches

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    Time and Geography Dissolve in Otherworldly Landscapes by Sholto Blissett

    “The White Heat of Cold Water” (2024), oil on canvas, 78 3/4 x 118 inches. All images courtesy of the artist and Hannah Barry Gallery, shared with permission

    Time and Geography Dissolve in Otherworldly Landscapes by Sholto Blissett

    January 10, 2025

    Art

    Kate Mothes

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    Encircled by light, water, or stone, the central subjects of Sholto Blissett’s oil paintings simultaneously highlight and defy our aesthetic understanding of “nature.” Drawing on the rich history of landscapes, from the Dutch Golden Age to 19th-century British paintings to the Hudson River School, the artist illuminates spiritual associations and the universality of the sun, moon, the elements, and the earth.

    In his solo exhibition, Life in Deep Time, at Hannah Barry Gallery, Blissett’s large-scale works explore “the tenderness between natural architecture, ecological thought, human fantasy, and celestial forms of light and visibility,” says a statement.

    “Creatures of the Flame I” (2024), oil on canvas, 78 3/4 x 118 inches

    Blissett often employs classical architecture or historical references that create a kind of gulf or divide between the scene and the viewer, separating us from the scene by time, geography, and a sense of the unknown.

    In his most recent works, architectural facades like grand palazzos or towering obelisks have been subtly replaced by the more organic forms of trees, caves, or boulders. We’re ushered into subterranean realms flooded with moonlight, suggesting a continuum of prehistory through to the future.

    Blissett is fascinated by the scale of human existence. Think of the way you might feel peering out the window of an airplane and comprehending the magnitude of the world beneath you—how small you feel, and yet, how connected. Compared to millions-year-old caves, tectonic shifts, or dried sea beds, the time span of human existence reads as merely a speck within that timespan.

    Almost portrait-like, Blissett centers trees, monuments, and natural phenomena in each composition, silhouetted in the light and framed by rock walls or foliage as if the landscape has transformed into a boundless stage.

    “Vertigo” (2024), oil on canvas, 78 3/4 x 118 inches

    The light itself—what it reveals or conceals—is a character unto itself, reminding us of the limitations of sight, and that outside of the two-dimensional format of the painting, we are always enveloped by our surroundings. Blissett suggests that the darkness continues around and behind us, too, reiterating our focus toward the light, toward comfort and knowledge.

    Often more than six feet wide or nearly as tall, Blissett’s expansive scenes approach immersion. He “calls attention to our manufactured and shifting relationship between social constructions of ‘nature’ and ‘culture’—their cosmically entwined, spectral, and thorny coexistence,” the gallery says.

    Life in Deep Time continues through February 8 in London, and a book published by Foolscap Editions to accompany the exhibition will be launched on January 25 with a reception from 2 to 4 p.m. The artist’s work is also on view in The Silver Cord at Huxley Parlour, which continues through January 18. Find more on Blissett’s website and Instagram.

    “Borrowed Light” (2024), oil on canvas, 78 3/4 x 118 inches

    “Ship of Fools II” (2022), oil and acrylic on canvas, 94 1/2 x 78 3/4 inches

    “Creatures of the Flame II” (2024), oil on canvas, 78 3/4 x 118 inches

    “World Maker II” (2024), oil on canvas, 78 3/4 x 118 inches

    “Feral” (2023), oil and acrylic on canvas, 78 3/4 x 118 inches

    “World Maker I” (2024), oil on canvas, 78 3/4 x 118 inches

    “Ship of Fools XII” (20220, oil and acrylic on canvas on board, 43 3/8 x 39 3/8 inches

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    Through Gestural Oil Paintings, Maria Calandra Guides Her Stream of Consciousness Onto Canvas

    Images courtesy of Courtesy of Fredericks & Freiser, NY, shared with permission

    Through Gestural Oil Paintings, Maria Calandra Guides Her Stream of Consciousness Onto Canvas

    December 21, 2024

    ArtNature

    Jackie Andres

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    While traditional plein air painters capture their surroundings while outdoors, artist Maria Calandra takes a different approach. By roaming the coastal headlands of Maine, exploring the waters of Florida, and venturing out to the rolling fields of Southern France, Calandra finds inspiration in nature for her dynamic oil landscapes.

    The artist’s Brooklyn studio is laden with energy after she returns from such invigorating excursions. “I paint while reflecting on that moment during a hike when you start to feel Earth’s vibrations pulse through your feet and up your spine, letting memory, intuition, and those leftover vibrations take the reins,” she describes.

    Calandra’s painting style mimics this intensity as she translates a stream of consciousness through fluid brushstrokes and oscillating organic forms. Instinct guides the artist, who describes the act as “automatic painting.”

    This January, the artist will be in a group show at Half Gallery in New York followed by a solo show in June at the gallery’s Los Angeles location. Find more on Calandra’s website and follow along on Instagram.

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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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