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Rooms and Buildings Have a Life of Their Own in Eamon Monaghan’s Uncanny Dioramas

by Aurelia Butler 19 February 2025, 13:47

“Road Refrigerator” (2025), cardboard, tin foil, aluminum wire, epoxy clay, and watercolor, 33 x 63 x 15 inches. All images courtesy of the artist and Moskowitz Bayse, Los Angeles, shared with permission

Rooms and Buildings Have a Life of Their Own in Eamon Monaghan’s Uncanny Dioramas

February 19, 2025

Art

Kate Mothes

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Framed by steel I-beams, aluminum cladding, or floor boards, Eamon Monaghan’s chaotic dioramas appear ready to burst from their own confines. Made from everyday materials like cardboard, tinfoil, wire, and epoxy clay, his sculptures capture harried moments of disarray seemingly frozen in time.

In the artist’s current solo exhibition, Under the Floorboards at Moskowitz Bayse, the sculptures jump off the wall, angles jutting this way and that. Beams intersect with appliances; floor boards bend; stairways emerge from nowhere and terminate in open space; and radiator steam infiltrates everything in its path.

“Foggy Pipes” (2025), cardboard, tin foil, aluminum wire, epoxy clay, and watercolor, 34 x 70 x 18 inches

Monaghan draws on the work of 20th-century underground legends like cartoonist R. Crumb or clay animator Bruce Bickford. In the artist’s three-dimensional scenes, tiny figures sometimes emerge comically half-concealed, sometimes grappling with the situation at hand and sometimes simply swept up in the action.

He embraces unpredictability and farce, playfully examining the relationships between stability, movement, time, and a sense of control. In “Stages,” for example, a series of platforms and rooms shift around in a puzzle-like arrangement, with one figure apparently taken by surprise by a steel beam, another crawling behind a curtain, and yet another passed out on a sofa while helping to “pull the strings” of the entire uncanny production.

Under the Floorboards continues through March 29 in Los Angeles. Find more on the artist’s Instagram.

“Stages” (2025), cardboard, tin foil, aluminum wire, epoxy clay, and watercolor, 44 x 67 x 15 inches

Detail of “Foggy Pipes”

“Trap Door” (2025), cardboard, tin foil, aluminum wire, epoxy clay, and watercolor, 25 x 30 x 10 inches

Side view of “Road Refrigerator”

“Secure The Spaghetti” (2025), cardboard, tin foil, aluminum wire, epoxy clay, and watercolor, 16 x 35 x 10 inches

“A Nice Night In” (2025), cardboard, tin foil, aluminum wire, epoxy clay, and watercolor, 28 x 45 x 14 1/2 inches

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Simon Laveuve’s 1/35-Scale Dwellings Hint at a Post-Apocalyptic Way of Life
by Aurelia Butler 3 February 2025, 19:00
“Temple” (2025), mixed media. All images courtesy of Simon Laveuve, shared with permission
Simon Laveuve’s 1/35-Scale Dwellings Hint at a Post-Apocalyptic Way of Life
February 3, 2025
Art
Kate Mothes
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Whether slathered with graffiti, overgrown with moss, or decorated with found knick-knacks, Simon Laveuve’s sculptures hint at anonymous lives. Even though we never see those who inhabit the eclectic miniature dwellings (previously), the artist invites us to examine an alternative way of life.
Crafted at 1/35 scale, tiny tables, windows, paintings, and other objects fill multi-story rooms and mezzanines. In his most recent works, Laveuve continues his characteristic assemblage-like style, imagining a post-apocalyptic reality where basic belongings provide for a simple life.
Detail of “D’un bout à l’autre”
In “D’un bout à l’autre,” for example, which translates to “from one end to the other” the structure appears to have risen from the pier of a long-destroyed bridge. Its swampy base contains old tires and other detritus, while above, a narrow, three-story shack includes basic amenities.
In this imagined existence, there is presumably no electricity grid or internet, a windmill provides enough power for a fan and a refrigerator, and a tank stores water. Laveuve taps into a kind of “future past,” turning to equipment and methods many of us view as obsolete today, like gramophones and metal milk jugs.
If you’re in Paris, you can see Laveuve’s solo exhibition Voir Loin at Loo & Lou Gallery through March 1. His work is also included in Small Is Beautiful, which is currently on view in Taipei. Discover more miniature worlds on the artist’s website and Instagram.
“D’un bout à l’autre” (2025), mixed media, 52 x 40 x 31 centimeters
Detail of “D’un bout à l’autre”
“D’un bout à l’autre”
Detail of “D’un bout à l’autre”
“La Volière” (2025), mixed media
Detail of “La Volière”
“Temple” (2025), mixed media
Detail of “Temple”
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Sonya Kelliher-Combs Merges Collective Knowledge and Native Alaskan Heritage in Mixed Media
by Aurelia Butler 26 December 2024, 15:49
“Goodbye” (2018), installation from Anchorage Museum’s Collection. All images courtesy of the artist and Hirmer Verlag, shared with permission
Sonya Kelliher-Combs Merges Collective Knowledge and Native Alaskan Heritage in Mixed Media
December 26, 2024
ArtBooksHistorySocial Issues
Kate Mothes
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Raised in the Alaska community of Nome, which sits on the coast of the Bering Sea, Sonya Kelliher-Combs traces her family lineage to the northernmost reaches in Utqiaġvik and the central inland city of Nulato. Now based in Anchorage, her Iñupiaq and Athabascan ancestry, cultural heritage, and relationship to the land constitute the nucleus around which her multidisciplinary work revolves.
Growing up in a rural community, Kelliher-Combs observed and learned “time-honored traditional women’s and collective labor—skin sewing, beading, and food preparation—that taught her to appreciate the intimacy of intergenerational knowledge and material histories,” says an artist statement in the foreword of the artist’s new monograph, Mark.
“Credible Small Secrets” (2021-present), sculpture, printed fabric, human hair, nylon thread, glass beed, and steel pen, variable dimensions. Photo by Chris Arend
Published by Hirmer Verlag, the volume explores the breadth of Kelliher-Combs’s practice, from paintings, sculptures, and installations to her curatorial and community advocacy work.
Drawing on the materials and symbolism of ancestral, Indigenous knowledge, Kelliher-Combs addresses what she describes as “the ongoing struggle for self-definition and identity in the Alaskan context,” delving into history, culture, family, and long-held customs.
The works “also speak of abuse, marginalization, and the historical and contemporary struggles of Indigenous peoples in the North and worldwide,” her statement continues. In “Goodbye,” for example, 52 gloves and mittens are gathered together as if waving a collective farewell.
The poignant installation aimed to open the dialogue about the sensitive subject of suicide, the rate of which at the time Kelliher-Combs made the piece was nearly 52 Native Alaskans per 100,000—more than triple the age-adjusted rate among Americans in general. The mitts were all handmade and lent by local community members.
“A Million Tears” (2021), painting and mixed media, variable dimensions. Photo by Chris Arend
Through delicate, tactile sculptures and atmospheric paintings, the artist venerates ancient ancestral practices, like animal hide preparation, while exploring the way contemporary materials like plastic and fossil fuels are transforming the landscape. She often incorporates maps, thread, beads, hair, and fabric.
Kelliher-Combs also combines organic and synthetic materials, merging the traditional with the new; the local with the imported. She describes how she pushes “beyond the binary divisions of Western and Indigenous cultures, self and other, and man and nature, to examine the interrelationships and interdependence of these concepts.”
See more of the artist’s work on her website, and find your copy of Mark on Bookshop.
“Credible II” (2022), painting installation, mixed media. Photo by Chris Arend
“Credible, Fairbanks” (2019), painting, mixed media, 16 x 16 inches. Photo by Minus Space, courtesy of the Denver Art Museum, Denver, Colorado
“Credible Small Secrets”
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A Changing Community and Lived Experiences Converge in Leroy Johnson’s Mixed-Media Houses
by Aurelia Butler 23 December 2024, 17:57
All images courtesy of Margot Samel, shared with permission
A Changing Community and Lived Experiences Converge in Leroy Johnson’s Mixed-Media Houses
December 23, 2024
Art
Kate Mothes
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From collaged and painted found materials merged with elements of photography and ceramics, Leroy Johnson (1937-2022) created an eclectic vision of life in his hometown of Philadelphia. Through layered, multi-dimensional portraits of houses, the artist represents loci of family life and community in conceptual assemblages that also confront racism, poverty, and gentrification.
In the first exhibition of his work in New York City, Margot Samel presents Leroy Johnson, a collection of the artist’s house sculptures made “with a documentarian’s eye but a poet’s gaze,” says a gallery statement. His pieces capture a city in transition, peering into its past to underscore the myriad experiences of its present.
“Spirit House” (c. 2005–2010) mixed media, found object, and collage, 19 1/4 x 20 x 13 1/2 inches
Through his occupations as a social worker, teacher of disabled youth, rehab counselor, and school administrator, Johnson “surveyed the pleasures, hardships, and contradictions within the Philadelphia neighborhoods where he spent his life,” Margot Samel says, and he “pierced the fabric of collective human experience more deeply than most.”
Johnson’s abstract, mixed-media houses often feature photographs of people and gatherings, graffiti and text, and swishes of paint or residual imagery from found objects. The gallery adds, “As an African American artist who witnessed the civil rights movement and the impact of racist policies on communities he loved, Johnson took particular pleasure in depicting the richness of Black life.”
Leroy Johnson runs from January 10 to February 9 in New York. Learn more and plan your visit on the gallery’s website.
“You Been Had” (c. 2000–2005), mixed media, found object, and collage, 17 x 16 1/2 x 8 inches
“Heart of Darkness” (c. 1995–2000), mixed media, found object, and collage, 13 x 11 x 6 inches
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Einar and Jamex de la Torre’s Monumental Glass Assemblages Hurtle Through ‘Collidoscope’
by Aurelia Butler 5 December 2024, 15:22
“Oxymodern (Aztec Calendar)” (2002), blown-glass, mixed-media wall installation, 120 x 120 x 12 inches.
Image courtesy of the Cheech Marin Collection
and Riverside Art Museum. All images courtesy of the artists and the Corning Museum of Glass, shared with permission
Einar and Jamex de la Torre’s Monumental Glass Assemblages Hurtle Through ‘Collidoscope’
December 5, 2024
ArtCraft
Kate Mothes
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In 1972, when Einar and Jamex de la Torre were nine and 12 years old, respectively, their family moved to Southern California from their hometown, Guadalajara, Mexico. Building upon their immigrant experiences and the sometimes contradictory facets of bicultural identity, the artists began creating sculptures and installations exploring themes as varied as time, religion, traditions, and regionalism.
The pair have collaborated since the 1990s, combining blown glass and mixed media into large-scale wall pieces and striking public art. In the expansive exhibition Collidoscope: de la Torre Brothers Retro-Perspective at the Corning Museum of Glass, the pair present 40 works spanning nearly three decades.
“Meteorite dall’ Influenza Veneziana” (2024)
Included in the showcase is a brand new, monumental commission titled “Meteorite dall’ Influenza Veneziana,” which draws on the rich history of Venetian or Murano glass.
While only pieces produced on the small Italian island can bear the name of Murano—think Champagne in the wine world or Parmigiano Reggiano for cheese—the de la Torre brothers revel in the idea that “once [the technique] escaped, it hit the glassblowing world like a meteorite,” Einar says.
The de la Torre brothers are known for their additive approach, layering both meaning and material into meticulous assemblages. Vibrant colors and sometimes ironic details, like symbols for a car battery or engine light, emerge when encountered up close, then dissolve into energetic patterns when viewed from a distance.
Detail of “Meteorite dall’ Influenza Veneziana”
Today, the duo split their time between San Diego and the Guadalupe Valley of Baja California, Mexico, and the occasionally humorous interplay of American and Mexican motifs hold a sustained role in their practice. Many pieces incorporate motifs specific to Mexico, like the iconic, circular Aztec calendar that combines a 365-day cycle with a 260-day ritual or spiritual cycle. Mechanical gears, shells, religious iconography, anatomy, and more, merge in their maximalist compilations.
The brothers created the new work in the Corning Museum’s studio, and the idea for incorporating Venetian details like cane work arose organically around the hot shop team’s experience with the style. “An artist’s job is to get away with their vision,” Einar says, “and we were very gratified and surprised at how much support we had for our ideas for this commission.”
Collidoscope continues through January 5 in Corning, New York. Find more on the artists’ website.
Detail of “Meteorite dall’ Influenza Veneziana”
“Frijolera Clásica” (2010), bown-glass, mixed-media sculpture, 31 x 18 x 18 inches. Image courtesy of Crocker Art Museum
“Mitosis” (2008), blown-glass and mixed-media with resin castings and waterjet-cut aluminum frame, 48 x 48 x 9 inches. Image courtesy of the artists and Koplin Del Rio Gallery
“En Cada Arbol una Cruz” (2000), blown-glass, mixed-media sculpture, 28 x 21 inches. Image courtesy of the artists and Koplin Del Rio Gallery
Corning Museum of Glass staff work with the de la Torre brothers to install “Meteorite dall’ Influenza Veneziana”
The de la Torre brothers construct glass installation components in the Amphitheater Hot Shop of the Corning Museum of Glass
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Celestial Forms Erupt and Tumble in Lauren Fensterstock’s Jewel-Encrusted Sculptures
by Aurelia Butler 18 November 2024, 13:38
“Tender Willingness” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 16 x 20 x 20 inches. All images courtesy of Lauren Fensterstock and Claire Oliver Gallery, shared with permission
Celestial Forms Erupt and Tumble in Lauren Fensterstock’s Jewel-Encrusted Sculptures
November 18, 2024
Art
Kate Mothes
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Like crystallized meteors or mysterious terrestrial phenomena, Lauren Fensterstock’s jewel-encrusted sculptures (previously) reflect the artist’s interest in sacred symbols of the universe.
In her solo exhibition, Some Lands Are Made of Light at Claire Oliver Gallery, Fensterstock presents a new body of intimate sculptures and Swarovski crystal-coated drawings that reflect moments of introspection and inner peace.
“I Arrange the Stars” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 14 x 22 x 19 inches
“I see my work as jewelry but not to adorn the body… rather (to) augment the soul,” Fensterstock says in a statement. “I invite viewers to pause and reflect on their place within a collective experience and embrace their perceived imperfections—acknowledging that our differences, flaws, and struggles are what make us uniquely human.”
The artist plays with light and contrast, composing spherical surfaces and dark cavities that glint in the light. She uses natural crystals, like quartz, and repurposed found objects like chandelier parts, Swarovski gems, antique beads, and glass. The resulting works take the form of exploding celestial objects and enigmatic botanicals.
Some Lands Are Made of Light continues through January 18. Find more on the artist’s website and Instagram.
Detail of “I Arrange the Stars”
“She is Refuge” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 14 x 21 x 21 inches
Detail of “Tender Willingness”
“The Intimate Vast” (2024), vintage crystal, glass, quartz, obsidian, tourmaline, and mixed media, 15 x 33 x 33 inches
Detail of “The Intimate Vast”
Installation view of ‘Some Lands Are Made of Light’
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Michael McGrath Summons Symbolism and a Folk Art Style in Expressive Paintings
by Aurelia Butler 6 November 2024, 18:07
“Unearthing Buried Gods.” All images courtesy of Michael McGrath, shared with permission
Michael McGrath Summons Symbolism and a Folk Art Style in Expressive Paintings
November 6, 2024
Art
Kate Mothes
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From fanged cats and all-seeing ravens to anthropomorphized botanicals and disembodied faces, Michael McGrath’s uncanny works nod to the symbol-rich, flat compositions of folk art or “naïve” painting. His mixed-media works combine materials like graphite, oil paint and oil stick, ink, and acrylic on a variety of surfaces, including wood, canvas, and burlap.
Inspired by the expansive scenes of contemporary artists Peter Doig and Mamma Andersson, and self-taught artists Henry Darger (1892-1973) and William Hawkins (1895-1990), McGrath harnessed a narrative approach in his own practice. “I decided to experiment with figures and storytelling in my painting,” he tells Colossal. He also counts Jim Henson among his influences.
“Threats and competition for tiny vampires” (2023), graphite, colored pencil, and India ink on wood panel, 14 x 11 inches
Populated with an array of characters, from trees with alarmed expressions to tiny, fairy-like black critters with bulbous wings and long legs, McGrath delves into mysterious, emotional tales with plots as enigmatic as they are supernatural.
The artist’s interest in painting evolved from an early fascination with design, especially album covers and advertising in magazines like Spin and Thrasher. “I never had the patience to develop classical skills, so I focused on dimensional and collage work for a while, until I eventually decided to invest more time in painting,” he says.
McGrath’s work will be part of an online group show with MePaintsMe, Slight of Hand, which opens on November 12. In February, he will also have pieces on view in a group show at Court Tree Collective in Brooklyn. Find more on his website and Instagram.
“Monster control, future systems No. 3,” (2024), acrylic, oil stick, and oil on canvas, 78 x 120 inches
“Night float, threat window” (2024), oil and oil stick on canvas, 60 x 48 inches
“Hunting songs” (2024), oil, oil stick, and grease pencil on linen, 30 x 24 inches
“Muppet moon nightmare choir” (2024), acrylic, acrylic yarn, embroidery thread, painted canvas, and burlap on burlap, 40 x 30 inches
“Moon float” (2024), acrylic, watercolor crayon, enamel, and oil pastel on canvas, 60 x 48 inches
“Stories to frighten your children with and dangerous literature” (2023), oil, oil pastel, and acrylic on linen, 30 x 40 inches
“Cat song, moon riot, No. 2” (2024), oil on canvas, 48 x 36 inches
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Collaged Portraits by Emma Odumade Draw on the Past to Face the Future
by Aurelia Butler 8 October 2024, 12:31
“Call of Duty (A New Anthem)” (2024), charcoal, acrylic, ink, vintage photos, and black tea on canvas, 101.6 x 101.6 centimeters. All images courtesy of the artist and Unit London, shared with permission
Collaged Portraits by Emma Odumade Draw on the Past to Face the Future
October 8, 2024
ArtPhotography
Kate Mothes
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Growing up in Lagos, Emma Odumade always drew cartoons and created collages on paper. As he continued to make work, his interest grew in highlighting the world around him, especially young people in his community.
Odumade’s vibrant portraits and self-portraits, the latter of which he makes toward the end of every year, reflect a sense of unity, a search for self, love, and anticipation of the future. These particular works arose as “an attempt to have a diary—I never had one,” he says. “I needed to rediscover myself; see myself from an angle—from a third eye. My art became a mirror, through which I was a reflection.”
“Mister Fly” (2024), charcoal, acrylic, vintage photos, ink, graphite, colored pencil, and black tea on canvas, 147.32 x 119.38 centimeters
Portraits serve as records of activities and experiences, documenting the artist’s observations and referencing history and culture to tell personal stories. He combines images with other mediums like charcoal, acrylic, ink, and repurposed earlier sketches, invoking what he calls “stamps of moments”—a collection of memories viewed through the spectrum of past, present, and future.
“I love that I can reference historical events, stolen African artifacts, and my humble beginnings through a photo,” Odumade tells Colossal. He collages the backgrounds of many compositions with numerous black-and-white images dyed with tea to give an antique appearance. “The vintage brown look of the old photos is to remind viewers about [the] past and to give a ‘test of time’ feeling.”
Five new works will be presented by Unit London at 1-54 Contemporary African Art Fair in London, which runs from October 10 to 13. Explore more of Odumade’s practice on Instagram.
“My Favorite Albert’s Theory” (2020-2021), charcoal, acrylic, ink, black tea, and sketch paper on canvas, 163 x 148 centimeters. Additional credit to Lekan Abatan
“Seth; Why Run Away From Light Equals Infin9s” (2021-2022), charcoal, graphite, acrylic, ink, sketches, old photos, and black tea on paper. Additional credit to Ken Nwadiogbu
“A Wave to Remember” (2024), charcoal, acrylic, black tea, and vintage photos on canvas, 146.05 x 119.38 centimeters
“Three Sequences” (2021), charcoal, acrylic, black tea, ink, and old photos on canvas, 124 x 97 centimeters. Additional credit to Eshinlokun Wasiu
“First Motion to Fly (Mr. Professor)” (2024), charcoal, acrylic, ink, vintage photos, feather, and black tea on canvas, 147.32 x 119.38 centimeters
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Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine
by Aurelia Butler 1 October 2024, 18:00
Installation view of ‘La Jaula de Oro’ at Museo de Arte de Zapopan. Photo by Lazarillo. All images courtesy of the artist and Museo de Arte de Zapopan, shared with permission
Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine
October 1, 2024
Art Social Issues
Kate Mothes
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In a pink, glowing Rococo setting, Yvette Mayorga’s first solo exhibition in Mexico dives into nostalgia, teenage dreams, and how sometimes a sugary coating can conceal crucial truths.
For La Jaula de Oro—The Golden Cage—at Museo de Arte de Zapopan, the Chicago-based artist (previously) has created four acrylic-piped paintings on canvas and a series of mixed-media sculptures. These include a 1974 Datsun coated in crochet, plush and plastic toys, acrylic nails, faux fur, rosaries, and other ephemera. Pop singer Selena’s song “Dreaming of You” wafts from the car stereo.
“Bien chiqueada” (2024), acrylic nails, nail charms, toy snake, toy scorpion, clock, scorpion belt, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters
At first glance, Mayorga’s compositions appear like delicate, frosted confections, glittering with nail charms and predominantly made in various shades of pink. But upon closer inspection, reminders of a slightly more unsettling reality begin to emerge, such as scorpions, clocks, or mirrors—nods to our relationship with time, others, and our mortality.
The artist draws on the tradition of vanitas painting, a style popularized during the Dutch Golden Age, often in the form of still lifes brimming with visual cues that power and glory mean nothing when confronted with the inevitability of death.
For Mayorga, the supple forms of piped bows, rosettes, and borders belie important messages centered around border control, immigrant labor, rampant capitalism, and pop culture.
Akin to the way cookies or cakes are created to be literally consumed, the artist toys with the notion of fleetingness. “La princesa (Ride or Die),” for example, captures a sense of ephemerality and impermanence: “here today and gone tomorrow,” says curator Maya Renée Escárcega.
Detail of “Bien chiqueada”
The artist invites viewers into a seemingly carefree, saccharine space evocative of the opulence of the late 18th century—the era of Marie Antoinette and her famous—if mythical—quote: “Let them eat cake.” Considered the “Rococo Queen,” she is associated with luxury and frivolity, and she came to symbolize the excesses of the wealthy during a period when many people couldn’t afford bread, let alone the delicacies of cake.
Mayorga’s primary medium is acrylic applied using a pastry bag. She references women workers—especially women of color—from whom colonial discourse stripped notions of femininity assigned to white women. She expands upon the framework of Rococo to analyze 21st-century issues, simultaneously serving us a reminder of the sacrifices and toil required to produce what capitalist society consumes.
La Jaula de Oro and continues in Zapopan through January 5. Find more on Mayorga’s website and Instagram.
Detail of “Banquete (Banquet)” (2024), hi-temperature ceramics, resin candle holders, bronze figures, and candles, dimensions variable. Photo by Lazarillo
Installation view of La Jaula de Oro
“Capitalist Clown” (2024), collage, acrylic marker, pastel, toy scorpion, and acrylic piping on canvas, 91. 44 x 121.92 centimeters
Detail of “La princesa (Ride or Die)” (2024), crochet, plush toys, plastic toys, acrylic nails, rosaries, faux fur, belt buckles, vinyl stickers, ceramic tchotchkes, clock, toy cell phone, found license plate, trophy, wood, 161 acrylic roses, and acrylic piping on a 1974 Nissan Datsun, 4 x 1.6 meters. Photo by Lazarillo
Detail of “La princesa (Ride or Die).” Photo by Lazarillo
“Made in Mexico (Fecit Mexici)” (2024), mirror, hand mirror, acrylic nails, nail charms, clock, toy scorpion, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters
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mixed media

Latest story

Rooms and Buildings Have a Life of Their Own in Eamon Monaghan’s Uncanny Dioramas

More stories

Simon Laveuve’s 1/35-Scale Dwellings Hint at a Post-Apocalyptic Way of Life

A Changing Community and Lived Experiences Converge in Leroy Johnson’s Mixed-Media Houses

Einar and Jamex de la Torre’s Monumental Glass Assemblages Hurtle Through ‘Collidoscope’

Celestial Forms Erupt and Tumble in Lauren Fensterstock’s Jewel-Encrusted Sculptures

Michael McGrath Summons Symbolism and a Folk Art Style in Expressive Paintings

Collaged Portraits by Emma Odumade Draw on the Past to Face the Future

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