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    Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures

    “Ouroflora” (2025),
    prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, 34 x 46 x 1 1/2 inches. All images courtesy of Wen Liu, shared with permission

    Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures

    June 3, 2025

    Art

    Grace Ebert

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    “In traditional Chinese medicine, treatments are prescribed through dialogue—how well one can communicate internal pain becomes a condition for healing,” says Wen Liu. Particularly difficult in moments of agony and discomfort, accurately describing our bodily sensations is essential for receiving treatment, and yet, as Liu points out, it’s also an act of translation that can feel nearly impossible while suffering and speaking a second or third language.

    The Shanghai-born artist, who is now based in Brooklyn, draws on this reality for her sculptural works that suspend dried herbs in tinted resin. Liu began incorporating these natural prescriptions into her practice when her father died “as a way to metabolize grief and explore healing through cultural connection,” she adds.

    “In Light, Where Edges Yield” (2025), prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, stainless steel, 65 x 65 x 3 1/2 inches

    Painted in pale purples and greens or silver, the molded-clay structures are architectural and skeletal, while the herbal portions evoke both stained-glass windows often seen in churches and cathedrals and vulnerable membranes of the body. Many works are affixed to the wall, although the human-sized “In Light, Where Edges Yield” stands freely on four legs with a spinal column at its center.

    Liu is intrigued by the way light filters through these surfaces and appears on the other side as a sacred, distorted beam of color. “This refracted illumination offers a sensory language beyond speech, mirroring the project’s exploration of emotions like grief, the processes of healing, and the inadequacy of language in capturing lived experience,” she adds.

    Continually mixing Eastern and Western traditions, Liu instills a sense of harmony and balance in her works. She gravitates toward symmetry and presents her sculptures almost like a Rorschach test, inviting viewers into a delicate dialogue of healing.

    Antidote is on view through June 21 at Gaa Gallery in New York. Liu is currently working toward an exhibition opening this month at Tang Contemporary Art Beijing, and you can explore more on her website and Instagram. (via Young Space)

    “Inarticulate Trace No1.” (2023), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 37 x 32 x 1.5 inches

    “Silhouette of a Dose” (2022), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43 x 41 x 1.5 inches

    Detail of “Silhouette of a Dose” (2022), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43 x 41 x 1.5 inches

    Detail of “In Light, Where Edges Yield” (2025), prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, stainless steel, 65 x 65 x 3 1/2 inches

    “Inarticulate Trace No2.” (2024), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 40 x 43 x 1.5 inches

    “Inarticulate Trace No3.” (2024), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43.5 x 40.5 x 1.5 inches

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    Homewares and Laundry Take on Lives of Their Own in Tobias Izsó’s Mixed-Media Sculptures

    “#1” (2023) from the series ‘off the cuff,’ textile, foam, horsehair, walnut, lime, oil willow, rattan, and brass, 80 x 70 x 5 centimeters. All photos by Simon Veres. Images courtesy of the artist and Christine König Galerie, shared with permission

    Homewares and Laundry Take on Lives of Their Own in Tobias Izsó’s Mixed-Media Sculptures

    May 28, 2025

    Art

    Kate Mothes

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    Shoelaces, zippers, chairs, and other domestic items adopt unexpected personalities in the uncanny sculptures of Tobias Izsó. Incorporating a wide range of materials, from various woods and paper to leather and textiles, the artist investigates the emotional terrain of private spaces. Izsó depicts sweaters, shoelaces, shirt cuffs, and piles of laundry merging with their surroundings or seemingly possessing minds of their own.

    Christine König Galerie, which represents the artist, exhibited Izsó’s series off the cuff last year in its project space, KOENIG2. The works explore relationships between home, self, and the emotional influence of stuff. Izsó’s work will be on view at Kunstverein Dresden in October, and you can find more on the artist’s Instagram.

    “#8” (2024) from the series ‘off the cuff,’ oak, paperclip, and paper, 15 x 19 x 14 centimeters

    “#6” (2023) from the series ‘off the cuff,’ webbing, leather, stainless steel, bentwood, oak carpet, textile, rattan, veneer, and brass, 170 x 47 x 35 centimeters

    “#3” (2024) from ‘off the cuff,’ beech, walnut, cherry, oak, and elm, 116 x 45 x 43 centimeters

    “#2” (2023), from the series ‘off the cuff,’ rattan, beech, Afrik, walnut, raffia walnut, and raffia, 82 x 60 x 12 centimeters

    “#5” (2024) from the series ‘off the cuff,’ cherry wood, pine wood, leather, and textile, 108 x 30 x 855 centimeters

    “#4” (2024) from the series ‘off the cuff,’ cherry wood and wall anchor, 99 x 42 x 15 centimeters

    Installation view of ‘Off the Cuff’ at KOENIG2 by_robbygreif

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    Recycled Materials Draw Attention to Ocean Plastics in Ana Brecevic’s Assemblages

    All images courtesy of Ana Brecevic, shared with permission

    Recycled Materials Draw Attention to Ocean Plastics in Ana Brecevic’s Assemblages

    May 14, 2025

    ArtClimateNature

    Kate Mothes

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    As the climate crisis worsens around the globe, its effects are no more apparent than in our oceans and the communities that rely on them. Delicate coral reefs, for example, face stresses from not only rising sea temperatures but the residue of human presence—plastics, castoff fishing equipment, and other waste.

    Warm water is typically the culprit in coral bleaching events, characterized by algae leaving the organisms and turning them a ghostly white. The algae provides a food source and helps to protect the coral from disease, but when it goes, the host is left much more vulnerable. For Ana Brecevic (previously), this phenomenon inspires work that draws attention to this urgent issue.

    Her recent series, Plasticum, reflects on the ever-growing problem of plastic pollution in the earth’s oceans while contrasting the beauty of marine ecosystems with their vulnerability to human impact. The artist meticulously cuts silhouettes of bleached corals and gorgonians—also known as sea fans—and ornaments them with baubles reminiscent of debris.

    “I live along the Atlantic coast, where I collect marine waste that inspires and feeds into this body of work,” Brecevic says. “Everything is made from recycled paper, upcycled fabrics, and natural dyes.”

    The artist describes Plasticum as “a quiet echo of a reality slowly settling in,” where microplastics and waste continually threaten underwater habitats and biodiversity. She says, “Through this work, I hope to spark questions about our connection to living ecosystems and what we choose to see—or overlook.”

    Find more on Brecevic’s website and Instagram.

    Photo by Marion Saupin

    Photo by Marion Saupin

    Photo by Marion Saupin

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    ‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage

    Installation view of ‘Level Up.’ Photos by Ladina Bischof. All images courtesy of GAFFA and Kunsthalle Arbon, shared with permission

    ‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage

    May 12, 2025

    Art

    Kate Mothes

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    When you think of an orange safety cone, you might imagine rows of the small reflective objects placed around temporarily parked vehicles or, say, next to potholes. But a stroll through GAFFA’s recent exhibition, Level Up at Kunsthalle Arbon, and the everyday sight took the form of an unmissably imposing, monumental structure.

    GAFFA is a collective founded nine years ago by Wanja Harb, Linus Lutz, Dario Forlin, and Lucian Kunz. Through a signature blend of humor, irony, and an interdisciplinary approach involving zines, collages, photography, sculpture, and installation, the group challenges our perceptions of physical space, history, and society.

    In their sometimes absurd installations, GAFFA often brings the outdoors in, like importing a beach chair and umbrella into a concrete room or constructing an enormous brown slug that slid across a gallery floor. In Level Up, traffic serves as the primary focus—both its symbols and the fine line between regulation and chaos.

    GAFFA transformed the Swiss art gallery into a parking garage containing an extra-long stretch limo, an entry ticket, orange cone, and double-arrow directional sign. We don’t know to whom the car belongs or where they are.

    Viewers are transported into a kind of Alice in Wonderland experience where the scale of everything feels befuddling and incongruent. The car, though life-size, is made of cardboard, and the yellow sign is an oil painting.

    “Underground garages and parking garages are places we usually only notice in passing,” the gallery says in a statement. “They are purpose-built ‘non-places’ to which hardly anyone pays attention, yet they have their own aesthetics: the strict geometry of the parking spaces, the rhythmic movement of the barriers, the seemingly random arrangement of the holes on a parking ticket.”

    Anyone who has driven into a large garage knows the anxieties of a gate not opening when it’s supposed to or the ticket machine not working. Within the large yet controlled space of the Kunsthalle Arbon, Level Up begged the question: how does one get out of here? Explore more on the collective’s website.

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    vanessa german Channels Metaphysical Healing Powers in a Series of Monumental Assemblages

    “the siddhi of the soul” (2025), rose quartz, wood, plaster, plaster gauze, the shine of the full moon on my mother’s face while saving my sister’s life, pyrite, joy, the ecstasy of creativity, marble tile, astroturf, for how it is to know that you are but a splinter of the whole and also entirely whole the same time, a revelation of lapis, citrine, the way that clouds are creative, a loosing against old ways of power, a healing
    song sung just of breath and now-ness, amethyst, 3 quilts and the love of jill and Dev, the hands
    of dev, the hands of jordan, the hands of our collective soul, strawberry quartz, fish key chains, a mammy creamer in the eye, hematite, butterflies made by the artist, a muse against cruelty,
    for how it is to be alive inside of this holy soul, magic., 65 x 36 1/2 x 36 1/2 inches. All images © vanessa german, courtesy of the artist and Kasmin, New York, shared with permission

    vanessa german Channels Metaphysical Healing Powers in a Series of Monumental Assemblages

    April 8, 2025

    ArtSocial Issues

    Kate Mothes

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    Meaning “perfection” or “attainment,” the Sanskrit word siddhi describes a kind of powerful spiritual energy attained through meditation and mindfulness. To be a siddha is to be accomplished—to achieve a level of optimum spiritual wellbeing. For vanessa german (previously), making sculpture is a spiritual practice with the power to confront systemic social issues and conjure a sense of community.

    In GUMBALL—there is absolutely no space between body and soul, german’s solo exhibition at Kasmin, “the siddhi of the soul,” for example, lists rose quartz, wood, plaster, and marble tile along with “…the way that clouds are creative, a loosing against old ways of power, a healing song sung just of breath and now-ness…”

    “the emergence, or, on considering the transformative nature of the dragon fly as told by Richard Rudd.” (2025), we dance here don’t we bend out our bones and loose our spirts free in an agreement of birth and suffering, wood, plaster, plaster gauze, lapis, sodalite, blue kyanite, quartz, rose quartz, dyed howlite, turquoise, bottles, blue things at the bottom of the sea, languishing, morganite, blue amber eye bee—for seeing the unseen inside of your own self, the deep grief of it all , the light from the wound, blue pigments, a white snake for transformation, a solid fearlessness, grace, onyx, obsidian, rhinestones, cut glass, a host of possibilities, magic and loving that keeps making itself new, over and over again., 64 x 40 x 38 inches

    german’s monumental new series of sculptural heads are conceived as “cosmic maps, proposing a cartography for a sacred place that embraces the full creative potential of all people,” says an exhibition statement. Drawing inspiration from ancient Mesoamerican Olmec heads, which were carved from basalt and measure, in some cases, more than 11 feet tall, the artist channels heft and gravitas.

    The descriptions of her pieces are a far cry from standardized lists of raw materials; combining lyrical and autobiographical references, the accompanying texts complement each work’s inspiration, process, and inherent energy.

    Beads, glass, ceramics, wood, recycling, astroturf, found objects, and more are complemented by myriad emotions and memories like “joy,” “languishing,” and “the way that black girls—in my youth—could speak their own language by chewing and popping gum.” She incorporates minerals and stones like quartz, onyx, and obsidian, transmitting their metaphysical healing properties.

    The exhibition is organized into two complementary presentations, including the mixed-media heads and a series of fallen figures. The latter strike poses that reflect vogue dancers’ “death drops” in ballroom competitions, in which they fall to the floor as if mimicking death, then use one leg to bounce back up.

    Title TBD (2025), 36 x 24 x 14 inches

    The fallen figures’ heads are replaced with porcelain racist caricatures, “reclaiming power from their white counterparts,” says a statement. Mirroring the voguing technique, each dancer emphatically rebounds from not only the illusion of death but from bigotry, systematic oppression, and violence toward the LGBTQ+ community and those who interrogate social norms.

    GUMBALL—there is absolutely no space between body and soul continues through May 10 across two of Kasmin’s Chelsea locations in New York City. Explore more on german’s Instagram.

    Detail of “the emergence, or, on considering the transformative nature of the dragon fly as told by
    Richard Rudd.”

    “lover, lover, lover boi” (2025), arm trans women, existence cannot be non-existence, get over it, love, love, love, wood, plaster, plaster gauze, bottle cap chain, forgiveness, clear quartz, cut glass, titanium dyed geodes, onyx, obsidian, shungite, Smokey quartz, beaded glass trim, the grief always, the opposite of self loathing, a Native American beaded hat from a trading post near what we now call, “the Grand Canyon.” Heat, starlight, the dance of all ages, kissing and fucking for the peace and joy of it all, anatomical heart model, mammy note pad body with original pencil, cut glass ring holder, quartz points from the land we now call, “Arkansas”, cowboy salt shaker, a snake for the bite and shrugging off of the passage of time., 77 x 31 x 34 inches

    “you own soul is a true magic” (2025), wood, marble tile, love, red glass beads, rose quartz, onyx, obsidian, shungite, Smokey quartz, lapis, agate, candelabras, joy, a found wooden foot, ceramic birds, pyrite, sodalite, emerald with quartz, black beaded text, sitting down in the soul for a made-up song, mirror, amethyst, beaded key chains from guatamala, astroturf, agate, morganite, creativity as antidote, silence, dancing, forgiveness., 70 x 43 x 36 1/4 inches

    Detail of “you own soul is a true magic”

    Title TBD (2025), 26 x 16 x 11 inches

    “GUMBALL, or, Gloriously Underestimated Magical Bounty As Living Love. Or, An Invitation to Contemplation at the pace of One’s own Divine Soul.” (2025), gemstones and minerals: tigers eye, onyx, obsidian, rose quartz, morganite, lapis, aragonite, citrine, agate, dyed jade, titanium heated geode, spirit quartz. Cut glass crystal, fish key chains, a love song to the Soul of it all, a house in which to grow wise in a manner with allows no violation to the being, wood, hand blown glass gumball, ceramic figurine, pink prayer beads, prayers of grace and the intimacy of loneliness giving into the knowing of deep and true wholeness, light, astroturf, joyous angelic presence, the levity of the Buddha—HA HA. Love, memories of my grandmother, plaster, plaster guaze, cardboard, obsidian lucky foot, 3-4 bags of my/the artist’s recycling, a laying on of hands and a release into the grace of being held outside of one’s own mind, joy, ceramic butterflies, the way that black girls—in my youth—could speak their own language by chewing and popping gum, beaded flowers, hope, newness, porcelain tile, slow down, it’s going to be ok., 87 x 47 1/2 x 43 1/2 inches

    Detail of “GUMBALL, or, Gloriously Underestimated Magical Bounty As Living Love. Or, An Invitation to Contemplation at the pace of One’s own Divine Soul.”

    Title TBD (2025), 36 x 22 x 14 inches

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    Delight in Heather Rios’s Delectable Cakes Made from Polymer Clay and Embroidery

    All images courtesy of Heather Rios, shared with permission

    Delight in Heather Rios’s Delectable Cakes Made from Polymer Clay and Embroidery

    March 17, 2025

    ArtCraftFood

    Kate Mothes

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    While Heather Rios’s slices of layer cake look ready to stick a fork into, you may want to think twice. Formed of polymer clay and finished with embroidery, the artist pairs the sweets with a vintage plate—and sometimes a fork—in playful trompe l’oeils.

    Enveloped in realistic frosting and decorated with berries, blossoms, and sprinkles, each work evokes pieces you’d be ready to dig into at a birthday or wedding. Rios meticulously embroiders each sponge element, fashioning patterned layers in thread on a hoop before transferring the finished panel to the sculpture.

    In addition to freestanding forms, Rios embellishes small paintings with shallow reliefs of cakes on canvas, emphasizing vibrant color and the fluffy texture of the exposed interiors.

    Many of Rios’s cakes would be exceedingly difficult to achieve in reality, like detailed floral designs or motifs from blue-and-white porcelain. Lucky for us, we can have our cake and keep it, too. Find more on the artist’s Instagram, and purchase a slice from her Etsy shop.

    A sponge embroidery in progress

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

    “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

    “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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