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    An Ikebana Artist and His Student Sow an Unconventional Approach to Flower Arranging

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    Kosen Ohtsubo, “Linga München” (2025), 300 Basket willow branches, candle, metal frame, plastic and metal ties, scrap metal, soil, various flowers and leaves. All photos by Maximilian Geuter, courtesy the artists and Kunstverein München, shared with permission

    An Ikebana Artist and His Student Sow an Unconventional Approach to Flower Arranging

    April 12, 2025

    ArtNature

    Grace Ebert

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    “I want to explode the idea of beautiful ikebana,” says Kosen Ohtsubo, one of the foremost conceptual artists working in the Japanese tradition.

    Since the 1970s, Ohtsubo has been unsettling the ancient art of flower arranging. Incorporating atypical botanicals like cabbage leaves or weaving in unconventional materials like bathtubs and scrap metal, the artist approaches making with the mindset of a jazz musician, a genre he frequently listens to while working. Improvisation and experimentation are at the core, along with an unquenchable desire for the unexpected.

    Detail of Kosen Ohtsubo, “Linga München” (2025), 300 Basket willow branches, candle, metal frame, plastic and metal ties, scrap metal, soil, various flowers and leaves

    An exhibition at Kunstverein München in Munich pairs Ohtsubo with Christian Kōun Alborz Oldham who, after discovering the ikebana icon’s work in a book in 2013, became his student. Titled Flower Planet—which references a sign that hangs outside Ohtsubo’s Tokorozawa home and studio—the show presents various sculptures and installations that invite viewers to consider fragility, decay, and the elusive qualities of beauty and control.

    Given the ephemeral nature of the materials, photography plays an important role in most ikebana practices as it preserves an arrangement long after it has wilted. This exhibition, therefore, pairs images of earlier works with new commissions, including Ohtsubo’s standout orb titled “Linga München.” Nested in a bed of soil and leaves, the large-scale sculpture wraps willow with metal structures and positions a small candle within its center.

    Similarly immersive is “Willow Rain,” which suspends thin branches from the ceiling. Subverting the way we typically encounter fields of growth, the work is one of many in the exhibition that seeds questions about our relationship to the natural world and the limits of human control.

    Flower Planet is on view through April 21. Explore Ohstubo’s vast archive on Instagram.

    Detail of Kosen Ohtsubo, “Linga München” (2025), 300 Basket willow branches, candle, metal frame, plastic and metal ties, scrap metal, soil, various flowers and leaves

    Kosen Ohtsubo, “Willow Rain” (2025), 800 basket willow branches, metal frame

    Christian Kōun Alborz Oldham, “Corruption”

    Christian Kōun Alborz Oldham, “Penny Waking up from a Dream” (2025), carrot, Chinese long bean,reflecting sphere, Japanese woven bamboo basket

    Detail of Christian Kōun Alborz Oldham, “Penny Waking up from a Dream” (2025), carrot, Chinese long bean, reflecting sphere, Japanese woven bamboo basket

    Detail of Kosen Ohtsubo, “Linga München” (2025), 300 Basket willow branches, candle, metal frame, plastic and metal ties, scrap metal, soil, various flowers and leaves

    Kosen Ohtsubo, “怪芋III / Strange Callas III” (2025), Calla lily, willow, custom-designed iron box

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      in Art

      ‘And Then There Was Everything’ Unearths the Allure of Natural Motifs at Joy Machine

      by

      Jeremy Miranda

      ‘And Then There Was Everything’ Unearths the Allure of Natural Motifs at Joy Machine

      April 9, 2025

      ArtNaturePartner

      Joy Machine

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      Joy Machine is thrilled to announce its second exhibition, And Then There Was Everything, featuring works by Paul S. Briggs, David Cass, Laura Catherwood, Yellena James, Jeremy Miranda, Jeffly Gabriela Molina, and Anna Ortiz. An opening reception will be held from 6 to 9 p.m. on April 18.

      And Then There Was Everything takes its name from the opening line of Richard Powers’ novel The Overstory, which beckons readers into a winding, interconnected narrative tuned into the intimations of the trees. Powers writes that “a good answer must be reinvented many times, from scratch,” a sentiment each artist uniquely investigates through painting, ceramic sculpture, and collage. Iterating on natural motifs, these artists tap into our personal and collective psyches to unearth the recurring messages within.

      Paul Briggs, “Effloresce (Series)” (2025), black stoneware, white cone 6 glaze

      Rendering the familiar unfamiliar has long been a way to investigate the overlooked and to surface hidden emotions, and each artist presents seemingly common subject matter as an invitation to pause and look inward.

      In Briggs’ leafy vessels, repeating motifs are key to achieving equanimity. The artist uses a technique he calls “hand-turning” and works in a “very assertive but tender process.” From a single ball of clay, he pinches small, dynamic fronds surrounding the vessel walls as he finds a meditative balance in both his mind and the sculptures themselves.

      Although working at an intimate scale, Cass zooms outward as he paints undulating waves on antique tins, matchboxes, pulleys, and more, a collection of 14 of which are installed at Joy Machine. Visible swipes of paint delineate the horizon in some pieces, while others are entirely awash in curved lines. Interested in conveying the effects of a heating planet and rising waters, Cass uses repurposed, human-made containers representative of physical constraints as metaphors for our collective limits to adapt.

      In James’ alluring canvases, dense ecosystems spill from edge to edge. Striving for a perfect balance that becomes “a sort of compulsive meditation,” the artist paints delicate, otherworldly environments evocative of both land and sea. Catherwood similarly lingers in uncertainty as she renders hybrid creatures with fantastic motifs. Painted with soft, tender brushstrokes, the arresting beings become welcome companions to explore life’s mysteries and adjust to its cycles.

      Anna Ortiz, “Reflexión” (2024), oil on canvas, 30 x 34 inches

      Ortiz, too, conjures the uncanny in “Reflexión,” a desert landscape dotted with a pair of agave plants underneath an eclipse reflected on Lake Texcoco. The saturated, limited color palette renders the time of day ambiguous and helps establish a surreal borderland in which the now-dried lake still exists. Mixing memory and imagination, Ortiz draws on her own ancestral connections and positions the twin agaves as a way to consider unfulfilled destinies. 

      Miranda and Molina grapple with similar questions as they utilize recollections of moments and spaces. Observation is at the heart of Miranda’s works, and he harnesses the ethereal qualities of light to cast familiar spaces anew. In his hands, a nondescript pocket of forest or humble bonfire becomes dreamlike, prompting questions of perspective and how we understand our relationships to the settings that surround us.

      For Molina, a flutter of yellow butterflies and a mirrored parrot are symbols of connection and care. The brightly colored insects accompany a portrait of the artist’s mother as a child in “Mother Our Castles Will Not Be Made of Sand,” while “To Misericordia” conjures a place long gone. A poem inscribed in the work reads, “… And do you know that glitter and gold have gone out of fashion, and that your parrot no longer remembers himself?,” which references Molina’s great-grandmother’s pet and the ways companions give shape to the self.

      And Then There Was Everything is on view from April 18 to June 7. RSVP to the opening reception here.

      Jeffly Gabriela Molina, “Mother Our Castles Will Not Be Made of Sand” (2020), watercolor on Arches 300 Lb, 23 x 23 inches

      David Cass, “Pulley I – Rockport, ME” (2023-24), oil on marine pulley, 23 x 11.5 x 8 centimeters

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    • 138 Shares161 Views

      in Art

      Otherworldly Flowers Emerge from Darkness in Clara Lacy’s Meticulous Graphite Drawings

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      “Hypnos.” All images courtesy of Clara Lacy, shared with permission

      Otherworldly Flowers Emerge from Darkness in Clara Lacy’s Meticulous Graphite Drawings

      April 1, 2025

      ArtNature

      Kate Mothes

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      Nature has always been a subject of fascination for Clara Lacy, who roamed the fields and streams around her home in Hampshire when she was young, spurring an interest in studying biology. Art also emerged as a way for her to channel her interest in animals and plants, tapping into the long-held tradition of artists documenting flora and fauna for science.

      As she moved around to different parts of the world, with stints in Hong Kong and Sydney before returning to the U.K., Lacy absorbed each place’s variations in botanical life, weather, and light, inspiring a body of work that reflects on climate change, species loss, and “the need to find balance between humans and nature,” she says.

      “Thanatos”

      The World Has Dropped Its Petals is a series of elaborately detailed graphite drawings illuminating the world of flowers. In heavily contrasted grayscale, the blooms are devoid of the bright colors we typically associate with their petals and foliage, instead highlighted by an array of textures and naturally occurring patterns.

      “I’ve always been drawn to monotone work for its subtle tonal variations, offering a contrast to the bombardment of colour and light around us, all vying for our attention,” Lacy tells Colossal. She was drawn to graphite because its limited palette helps the subject to stand out through contrasts like delicate lines or deep blacks. She’s also interested in how graphite is often overlooked in fine art, classified typically as a sketching material rather than a standalone medium.

      Lacy titles her pieces after characters in Greek myth like Thanatos, the personification of death, and twin brothers Nyx (Night) and Hypnos (Sleep). She uses her own photos for reference, collaging and layering components in Photoshop until she finds an overall composition that resonates. The World Has Dropped Its Petals draws inspiration from stills lifes of the Dutch Golden Age, too, characterized by dark backgrounds from which flowers or fruit appear to pop in brilliance.

      The series is on view through April 13 at James Gorst Architects in London. Lacy has also started working on a new project exploring time and aging, which emphasizes zoomed-in views of flower fragments. Find more on the artist’s website and Instagram.

      “Heimarmene”

      “Helios”

      “Nephele”

      “Selene”

      “Elpis”

      “Nyx”

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    • 150 Shares125 Views

      in Art

      Tropical Flowers and Prickly Cacti Leap from Lili Arnold’s Vibrant Block Prints

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      “Strelitzia Reginae, a.k.a. Bird of Paradise III.” All images courtesy of Lili Arnold, shared with permission

      Tropical Flowers and Prickly Cacti Leap from Lili Arnold’s Vibrant Block Prints

      March 26, 2025

      ArtIllustrationNature

      Kate Mothes

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      Every year, Lili Arnold’s mother would block-print holiday cards to send to family and friends. When she was old enough to wield a carving tool, Arnold began to make her own, too. But it wasn’t until college, when she took an Intro to Printmaking class, that she became enthralled with the practice’s myriad methods.

      Block printing specifically captured Arnold’s attention because of its relatively simple components and technique—no giant presses required. The block can expand in scale, incorporate different colors, or be layered with numerous pressings.

      “Strelitzia Reginae, a.k.a. Bird of Paradise”

      “I think what I love most about the process is seeing my first print after so many hours of sketching, planning, carving, and troubleshooting,” Arnold tells Colossal. “There’s a lot of thought and time invested in the steps before the actual print becomes real, so when I see that first reveal, it’s both terrifying and thrilling.”

      Arnold’s compositions often revolve around natural subjects, especially botanicals like cacti and tropical flowers. She is fascinated by the environment’s infinite interaction of colors, textures, patterns, and symmetry.

      “There’s such vast diversity of plant life out there, each ecosystem encapsulating unique details and wonders,” she says. “We as artists and botanical patrons have the pleasure of translating and expressing our appreciation of this beauty through our artwork, writing, gardening, exploring, and beyond.”

      Follow updates on Arnold’s Instagram, and browse prints available for purchase in her shop.

      “Zantedeschia Albomaculata, a.k.a. Spotted Calla Lily III”

      “Palm Study III”

      “Emergence of Spring”

      “Opuntia Ficus-Indica, a.k.a. Prickly Pear”

      Blocks ready for printing

      Pulling “Opuntia Ficus-Indica, a.k.a. Prickly Pear”

      Block for “Banksia Prolata”

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    • 175 Shares139 Views

      in Art

      ‘Little Beasts’ Is a First-of-Its-Kind Museum Collaboration Reveling in Art and the Natural World

      by

      Jacopo Ligozzi, “A Groundhog or Marmot with a Branch of Plums”. (1605), brush with brown and black wash, point of the brush with black and brown ink and white gouache, and watercolor, over traces of graphite on burnished paper, sheet: 13 x 16 5/8 inches. All images courtesy of The National Gallery of Art, Washington, D.C., shared with permission

      ‘Little Beasts’ Is a First-of-Its-Kind Museum Collaboration Reveling in Art and the Natural World

      March 21, 2025

      ArtHistoryNatureScience

      Kate Mothes

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      During the 16th and 17th centuries, major developments in colonial expansion, trade, and scientific technology spurred a fervor for studying the natural world. Previously unknown or overlooked species were documented with unprecedented precision, and artists captured countless varieties of flora and fauna in paintings, prints, and encyclopedic volumes.

      Marking a first-of-its-kind collaboration between the National Gallery of Art and the Smithsonian National Museum of Natural History, Little Beasts: Art, Wonder, and the Natural World pairs nearly 75 prints, drawings, and paintings with around 60 objects from the NMNH collection.

      Jan van Kessel the Elder, “Insects and a Sprig of Rosemary” (1653), oil on panel, 4 1/2 x 5 1/2 inches

      “In major cities like Antwerp, artists such as Joris and Jacob Hoefnagel and Jan van Kessel created highly detailed drawings, prints, and paintings of these insects, animals, and other beestjes, or ‘little beasts’ in Dutch,” says the National Gallery of Art. “Their works inspired generations of artists and naturalists, fueling the burgeoning science of natural history.”

      Natural history has been a focus for scholars since ancient times, albeit early commentary was a bit more wide-ranging than its definition today. The largest single work to have survived from the Roman Empire is Pliny the Elder’s Naturalis Historia, which consists of 37 books divided into 10 volumes and covers everything from astronomy to zoology and mineralogy to art.

      Studying the natural world in ancient and early modern times was predominantly a philosophical pursuit until a discernible change during the Renaissance. By the 16th century, attitudes had shifted. The humanist learning tradition, centered on literature and the arts, began to give way to more advanced explanations for natural objects, describing their types and transformations and grouping them into classes.

      Private collections played a fundamental role in founding many natural history archives. The popularity of Wunderkammers, or “rooms of wonder,” transformed a pastime of the wealthy into exercises in scholarly prestige. By the late 17th century, more rigorous and formalized classification systems emerged as the philosophical component waned.

      Wenceslaus Hollar, “Shell (Murex brandaris)” (c. 1645), etching on laid paper, plate: 3 3/4 x 5 3/8 inches

      Throughout this time, artists like Albrecht Dürer, Clara Peeters, and Wenceslaus Hollar created works that responded to new discoveries. From biologically accurate renderings of shells and insects to playful compositions that employ animals and plants as decorative motifs, paintings and prints were often the only means by which the public could see newly discovered species.

      “Art and science have been closely aligned throughout the 175-year history of the Smithsonian,” says Kirk Johnson, director of the NMNH. “Even today, researchers at the National Museum of Natural History depend on scientific illustrators to bring clarity and understanding to the specimens they study.”

      Little Beasts opens on May 18 and continues through November 2 at the National Gallery of Art in Washington, D.C. Find more on the museum’s website.

      Clara Peeters, “Still Life with Flowers Surrounded by Insects and a Snail” (c. 1610), oil on copper,
      overall: 6 9/16 x 5 5/16 inches; framed: 10 x 9 x 1 1/2 inches

      Robert Hooke, “Micrographia: or, Some physiological descriptions of minute bodies made by magnifying glasses. / With observations and inquiries thereupon” (1665), bound volume with etched illustrations height (foldout illustrations significantly larger): 12 3/16 inches

      Jan van Kessel the Elder, “Artist’s Name in Insects and Reptiles [bottom center]” (1658), oil on copper, overall: 5 5/8 x 7 1/2 inches; framed: 9 7/8 x 12 1/8 inches

      Jan van Kessel the Elder, “Noah’s Family Assembling Animals Before the Ark” (c. 1660), oil on panel, overall: 25 3/4 x 37 3/16 inches; framed: 32 3/4 x 44 1/4 inches

      An Elephant Beetle (Megasoma e. elephas) from the Department of Entomology collections at the Smithsonian Institution National Museum of Natural History

      Wenceslaus Hollar, “Two Butterflies, a Wasp, and a Moth” (1646), etching on laid paper, plate: 3 3/16 x 4 3/4 inches; sheet: 3 1/4 x 4 13/16 inches

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    • 163 Shares189 Views

      in Art

      Mandy Barker’s Cyanotypes Revive a Pioneering Botanist’s Book to Warn About Synthetic Debris

      by

      Jersey boxers (Gigartina sunday). All images from ‘Photographs of British Algae: Cyanotype Imperfections’ by Mandy Barker, published by GOST Books. All images © Mandy Barker, courtesy of the author and GOST, shared with permission

      Mandy Barker’s Cyanotypes Revive a Pioneering Botanist’s Book to Warn About Synthetic Debris

      March 18, 2025

      ArtBooksClimateNatureScience

      Kate Mothes

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      “In 2012, I found a piece of material in a rock pool that changed my life,” artist Mandy Barker says. “Mistaking this moving piece of cloth for seaweed started the recovery of synthetic clothing from around the coastline of Britain for the next ten years.”

      Barker is known for her photographic practice that takes a deep dive into marine debris. Her work has been featured in publications like National Geographic, The Guardian, VOGUE, and many more. Often collaborating with scientists to raise awareness about plastic pollution in the earth’s oceans, she eloquently highlights its harmful impacts on marine habitats, wildlife, and all of us who depend on the ocean for sustenance.

      Patterned blouse (Laminaria materia)

      Forthcoming from GOST Books, Photographs of British Algae: Cyanotype Imperfections surveys the unexpected and out-of-place along British shores. At first glance, each specimen appears like a fragment of a leaf or a scatter of organic material, but upon closer inspection, the subjects of Barker’s images reveal details of unraveled polyester or scraps of nylon tights.

      Barker hopes to raise awareness of the damaging effects of fast fashion, synthetic clothing, and the increasing amounts of microfibers in the oceans. The fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined and is also the second-largest consumer of water, requiring about 2,000 gallons of water to produce a single pair of jeans.

      Barker’s new book is composed as an homage to the work of trailblazing botanist and photographer Anna Atkins (1799-1871), who is thought to be the first woman to take a photograph and the first person to publish a book containing photographic illustrations. Her 1843 study, Photographs of British Algae: Cyanotype Impressions, employed blue photograms to illustrate photosynthetic organisms and seaweeds.

      Barker’s work serves as a kind of sibling or sequel to Atkins’ pioneering publication, presented in a similar style with handwritten names in Latin beneath each specimen.

      Coat lining (Dichloria vestis)

      In their updated versions, the titles take Atkins’ scientific names as a starting point and tweak them just slightly to conjure references to clothing or the human body. In the plate titled “Dichloris vestis,” for example, Barker draws on a real type of algae Atkins catalogued, Dichloria viridis, but “vestis” is instead a tongue-in-cheek reference to outerwear, often made of polyester or other synthetic materials. “Conferva tibia,” which portrays frayed tights, employs the Latin word for “leg.”

      From John o’ Groats at the northernmost tip of Great Britain to Land’s End at its southernmost, Barker recovered specimens of clothing from more than 120 beaches. Her finds, ranging from parkas to wigs to sports jerseys, were pulled from the sand, tide pools, or directly from the sea. In Photographs of British Algae: Cyanotype Imperfections, Barker looks to the past to better understand how our actions in the present have both immediate impacts and will shape the future of the climate crisis.

      Find your copy on GOST’s online store, where signed editions are also available, and explore more of Barker’s work on her website and Instagram.

      Nylon tights (Conferva tibia)

      Shawl (Odonthalia amiculum), shown on a spread from ‘Photographs of British Algae: Cyanotype Imperfections’ by Mandy Barker

      Jacket lining (Rhodomenia ignotus)

      Fishnet tights (Chylocladia funda)

      Two Blouses (Asperococcus indusium)

      Synthetic fur hood (Myrionema Palliolum)

      Lining (with algae) (Grateloupia intra)

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    • 125 Shares169 Views

      in Art

      Vasilisa Romanenko’s Lush Portraits Wrap Common Birds in Decadent Patterns

      by

      “American Crow” (2025),
      acrylic on canvas, 8 x 8 inches. All images courtesy of Vasilisa Romanenko and Arch Enemy Arts, shared with permission

      Vasilisa Romanenko’s Lush Portraits Wrap Common Birds in Decadent Patterns

      March 11, 2025

      ArtNature

      Grace Ebert

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      Beauty and nature’s resilience are at the core of Vasilisa Romanenko’s work. The Connecticut-based artist paints faithful depictions of common yet dignified birds amid clusters of fruits and flowers, exploring the power of opulence in times of upheaval.

      A stately crow poses amid rust-colored roses, a great blue heron poses amid clusters of tangerines and lilies, and a small warbler perches amid pink poppies. Referencing the defiantly decorative works of English textile designer William Morris (1834–1896), Romanenko embraces the entrancing nature of decadent patterns.

      “Great Blue Heron” (2025), acrylic on canvas, 22 x 28 inches

      “I want my work to feel like an escape from everyday life, like taking a moment to be still and appreciate nature,” she says about her solo exhibition, BIRDS & BLOOMS, at Arch Enemy Arts. Enveloped by flora at full bloom, the winged subjects exude a sense of calm and strength as they perch and prepare for their next flight.

      BIRDS & BLOOMS is on view through March 30 in Philadelphia. Find more from Romanenko on her website and Instagram.

      “Northern Mockingbird” (2025), acrylic on canvas, 11 x 14 inches

      “Black-capped Chickadee” (2025), acrylic on canvas, 5 x 7 inches

      “Orange-crowned Warbler” (2025), acrylic on canvas, 5 x 7 inches

      “Dark-eyed Juncos” (2025), acrylic on canvas, 9 x 12 inches

      “Palm Warbler” (2025), acrylic on canvas, 8 x 10 inches

      “Brewer’s Blackbird” (2025), acrylic on canvas, 9 x 12 inches

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    • 113 Shares139 Views

      in Art

      Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages

      by

      “Residue” (2018). Photo by Ryohei Yanagihara. All images courtesy of Rui Sasaki, shared with permission

      Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages

      March 10, 2025

      ArtNature

      Kate Mothes

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      “What is essential is invisible to the eye,” Antoine de Saint-Exupéry wrote in his 1943 novella The Little Prince, a sentiment that drives Rui Sasaki’s work. From what the artist (previously) describes as a “mysterious and ambiguous material,” botanicals appear to float in frozen cubes of water.

      Sasaki employs glass to document and preserve the nature of the present. Works like “Subtle Intimacy” respond to places and experiences where she feels present. “It is vital for me to connect who I am and where I am, especially when I am in unfamiliar spaces,” the artist tells Colossal. She likens intimacy to nostalgia, exploring the depth of feeling associated with memories, comfort, and security.

      “Subtle Intimacy 2012-2023” (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der Giesen

      Sasaki traces her fascination with the medium to childhood, specifically to its visual similarities to the surfaces of ponds or lakes. “I was always wondering how I could make something out of water,” she says. “When I saw molten glass at a glassblowing studio during a summer family trip in Okinawa, I fell in love with it.”

      When Sasaki moved to the U.S. from Japan in 2007, she began incorporating plants into her work as a way to “recover my senses from my loss of intimacy and home in my mother country,” she says. When she returned to Japan five years later, she continued to hone her focus on botanicals.

      Enchanted by how plants can express experiences of her surroundings, Sasaki portrays individual botanicals in sculptures ranging in size from a few feet wide to room-size installations. She says:

      Collecting plants is the most important aspect of the work. I use all my five senses in gathering plants. That helps me to recall my past memories, especially in my childhood, and to connect my feelings of intimacy towards my country, Japan.

      Sasaki places collected specimens between two sheets of glass and fires the piece in a kiln. The plant turns to white ash, leaving the impression of petals, leaves, and veins. Air bubbles that naturally emerge in the heat are also preserved in what the artist likes to a time capsule. The original form of the plant no longer exists but its impression endures.

      Detail of “Subtle Intimacy 2012-2023″ (2023). Photo by Nik van der Giesen

      Dualities like presence and absence, fragility and strength, and transparency and opacity merge with Sasaki’s interest in “befriending” glass while reveling in the knowledge that she will never fully comprehend everything about it.

      If you’re in Denmark, you can see Sasaki’s sculptures at Glas from March 22 to September 28 in Ebeltoft. Her work will also be on view later this year at the Aichi Triennale 2025. Explore more on the artist’s website, and follow Instagram for updates.

      “Residue” (2018). Photo by Ryohei Yanagihara

      “Unforgettable Gardens” (2022). Photo courtesy of Art Court Gallery / Takeru Koroda

      “Subtle Intimacy 2012-2023” (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der Giesen

      Detail of “Subtle Intimacy / Utsuroi” (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya Nomura

      “Subtle Intimacy / Utsuroi” (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya Nomura

      Detail of “Dormant Recollections” (2024). Photo courtesy of Northern Alps Art Festival

      Detail of “Unforgettable Reminiscences” (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, ©︎ Tokyu Kabuchiko Tower

      Detail of “Unforgettable Reminiscences” (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, ©︎ Tokyu Kabuchiko Tower

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    • 150 Shares179 Views

      in Art

      Biological Cells and Chinese Ceramic Traditions Coalesce in Shiyuan Xu’s Porcelain Sculptures

      by

      “Hybrid #7” (2024), porcelain, Paperclay, and glaze, 19 x 9.5 x 15 inches. All images courtesy of Shiyuan Xu, shared with permission

      Biological Cells and Chinese Ceramic Traditions Coalesce in Shiyuan Xu’s Porcelain Sculptures

      March 3, 2025

      ArtCraftNature

      Kate Mothes

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      From seeds to the world’s smallest organisms, the inspiration for Shiyuan Xu’s porcelain sculptures (previously) originates in biology. Fascinated by the patterns, shapes, and structures of a wide variety of creatures, the artist creates intricate interpretations of cells, the essential building blocks of all life forms.

      Working meticulously with porcelain Paperclay—a mix of clay and cellulose fibers—and glaze, Xu sculpts webbed, amorphous forms that appear amoeba-like, as if expanding and contracting. She is deeply influenced by the work of Scottish mathematical biologist D’Arcy Thompson (1860–1948), whose seminal book On Growth and Form traces the scale and shapes of living things.

      “Hybrid #9” (2024), porcelain, Paperclay, and glaze, 19 x 8.5 x 21.5 inches

      A “diagram of forces” is how Thompson described the form of a specimen. For Xu, this dynamic evaluation shapes how she translates micro life forms into her work. “It is about movement, time, and space,” she says. “It records the way they move and grow; the way they react to the surrounding environment by interacting, altering, evolving and adapting to generate infinite new forms.”

      Xu views the history of porcelain as deeply intertwined with her own memories and identity, and she often employs a classic Chinese ceramic color palette in her pieces. The irregular structures and ombre colors reference the artist’s personal experiences. She says:

      Being an outsider in America for the past decade, my experience offers me a new perspective to reflect my own cultural heritage… The repetitive and labor-intensive process serves as a therapeutic response to the challenges of my experience in navigating dual cultures. My pieces are in many ways like living organisms, a metaphor for the evolving nature of life itself, and my own journey and roots.

      If you’re in London, you can see Xu’s work in a small exhibition dedicated to Chinese contemporary studio craft at the V&A, and her work will be included in a handful of forthcoming juried exhibitions in Portugal, Italy, and Missouri. Find more on her website.

      “Blue Vein #15” (2024), colored porcelain, Paperclay, and glaze, 23 x 10 x 15 inches

      Detail of “Blue Vein #15”

      “Vena Celadon #5” (2025), porcelain, Paperclay, and glaze, 24 x 9 x 14.5 inches

      Detail of “Vena Celadon #5”

      “Hybrid #6” (2023), colored porcelain Paperclay, and glaze, 23 x 11 x 10.5 inches. Photo by Guy Nichol

      “Hybrid #5” (2023), porcelain, Paperclay, and glaze, 20 x 11 x 17 inches. Photo by Guy Nichol

      “Hybrid #8” (2024), porcelain, Paperclay, and glaze, 19.5 x 8.5 x 16.5 inches

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