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

by Aurelia Butler 11 March 2025, 17:14

“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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Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages
by Aurelia Butler 10 March 2025, 09:00
“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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Biological Cells and Chinese Ceramic Traditions Coalesce in Shiyuan Xu’s Porcelain Sculptures
by Aurelia Butler 3 March 2025, 18:00
“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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Reconnecting with the Earth, Cyrah Dardas Collages Paintings with Handmade Pigments
by Aurelia Butler 24 February 2025, 19:44
Images courtesy of Cyrah Dardas, Shana Merola, Na Forrest Lim, Library Street Collective, and CCS gallery, shared with permission
Reconnecting with the Earth, Cyrah Dardas Collages Paintings with Handmade Pigments
February 24, 2025
ArtNature
Kate Mothes
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From oxidized metals, foraged plants, and botanical inks and dyes, Cyrah Dardas derives colors and textures from materials found in the earth. Based in Detroit, the artist reflects the juxtapositions of her surrounding landscape in paintings on cotton paper, merging human-made and organic materials in works redolent of Persian tapestries.
In abstract compositions evocative of Georgia O’Keeffe’s sensual flower forms or the symbol-rich paintings of Hilma af Klint vis-à-vis the spiritualist movement, Dardas collages paper painted with handmade watercolors and quilts textiles with hand-dyed fabrics.
“For the last few years, I have been thinking a lot about belonging and seeking to understand it through a more loving relationship to place,” she tells Colossal. “All of my work as an artist flows from this seeking.”
Dardas employs the language of abstraction to explore the human psyche and the “patterns, behaviors, forms, colors, and movements I see in the living world,” she says. Recently, she’s been considering the impact of humans seeing ourselves as increasingly separate from both nature and one another, simultaneously fascinated and grieved by the fallacy of individualism—the confusion between the freedom to make good decisions and the perceived right to do whatever we want with no empathy or regard for how it will affect others.
“In my practice, I ask myself, could I possibly foster some level of reciprocity with any—or all—of the many elements and beings that have brought me here and taken care of me?” Dardas says. “In order to do that, I know I need to at least find a way to connect to them differently than the models that modernity offers us. Art is my portal for that, a different type of connection.”
Dardas invokes ancient, ancestral ways of being in the world by consciously connecting to her natural surroundings. She honors ecosystems and relationships that are naturally cooperative, nourishing, and sustaining, drawing contrasts between processes she views as extractive, like capitalism, patriarchal attitudes, or over-reliance on technology. She uses locally available materials and relies on analog techniques to prepare and process them.
Describing herself as a “queer, eco-romantic artist and care worker,” Dardas examines the nuances of interdependency, growth, and life cycles. Much of her recent work is a reflection of her own pregnancy as she is currently in the “fleeting baby phase” of new parenthood. She says:
I got curious about other beings that swell and gorge to create life—all the plant bodies of water holding seeds, feeding and nurturing them. I wanted to mirror them, thinking of myself as a gourd, a seed pod, a fruit. Like the many facets and expressions of queerness, I felt the experience of pregnancy was vast and delightfully undefinable, and I wanted to translate that feeling or mirroring into something visual.
Dardas’s work is on view in the group exhibition Warp and Weft: Technologies within Textiles, presented by Library Street Collective at The Shepherd in Detroit, which continues through May 3. Find more on her website and Instagram.
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Splashes of Stainless Steel by Zheng Lu Embrace Philosophy, History, and Technology
by Aurelia Butler 20 February 2025, 15:56
“Undercurrent” (2023), stainless steel, 340 x 410 x 630 centimeters. All images courtesy of Zheng Lu and Galerie Sept, shared with permission
Splashes of Stainless Steel by Zheng Lu Embrace Philosophy, History, and Technology
February 20, 2025
ArtNature
Kate Mothes
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Composed of highly polished stainless steel, the sculptures of Zheng Lu (previously) appear suspended in space and time. Whether secured atop a pedestal, installed in a public park, or hanging in midair, each piece strikes a fine balance between motion and stillness and fluidity and fixedness.
The Beijing-based artist is deeply influenced by traditional Chinese philosophy and calligraphy. The energy, or qi, that courses through the universe shapes his work and is known to facilitate health, stability, and harmony in all aspects of life. Thousands of Chinese characters borrowed from historic texts additionally coat many of his sculptures, calling upon the past as a way to interface with the present.
“Undercurrent,” stainless steel
Lu is also increasingly interested in the burgeoning relationship between human artistry and artificial intelligence. “The advancement of technology will inevitably blur the boundaries between tools and creators, but the essence of creation remains rooted in human nature,” the artist tells Colossal. Viewed as a tool rather than a stand-in for human creativity, he is interested in how machine learning prompts us to more carefully consider authorship.
Through a creative approach that alternates between human and machine, Lu likens his process to “a relay race, with the artwork itself as the baton.” He continues:
I pass the baton to the computer, and it passes it back to me, each of us shaping the piece in turn. The final outcome is not entirely predictable. The existence of the world is defined by balance, and none of us can escape this principle. Hence, I embrace this method both in my life and work, where the process of creation is akin to the growth of life.
Lu is represented by Galerie Sept, and you can find more on the artist’s website.
Installation view of “Undercurrent”
“Water in Dripping Vortex,” stainless steel
“Whatever Journey it Takes” (2024), stainless steel, 560 x 540 x 240 centimeters
“Water in Dripping Circulation,” stainless steel
“Colosseum Fantasy” (2024), stainless steel, 120 x 100 x 242 centimeters
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Charles Gaines Maps the Meanings of Ancient Baobab Trees in Meticulous Charts
by Aurelia Butler 17 February 2025, 13:48
“Numbers and Trees: Tanzania Series 1, Baobab, Tree #4, Maasai”
(2024),
acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen. All images © Charles Gaines, courtesy the artist and Hauser & Wirth, shared with permission
Charles Gaines Maps the Meanings of Ancient Baobab Trees in Meticulous Charts
February 17, 2025
ArtNaturePhotography
Grace Ebert
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Since the 1970s, Charles Gaines (previously) has been charting the sprawling, unpredictable forms of trees onto numbered grids. He began with walnut trees in 1975, which he photographed while barren and then plotted onto hand-drawn graph paper.
A leader in the Conceptual Art movement, Gaines’ works ask viewers to explore the relationships between what something appears to be and what it means as it shifts from one context to the next. He also argues for a greater divide between subjectivity and aesthetics, instead emphasizing culture’s immense role in shaping our experiences.
Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #4, Maasai” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen 
In his ongoing Numbers and Trees series, Gaines continues to chart differences. During a 2023 visit to Tanzania, the artist photographed majestic baobabs, which form the basis for a collection of triptychs that entwine the magnificent specimens with colorfully numbered grids. Gnarled trunks and spindly offshoots both layer atop and are masked by Gaines’ sequences, all viewed through sheets of plexiglass.
The baobab is known as “the tree of life” for its longevity, myriad roles in preserving the savanna ecosystem, and ability to host entire habitats within its canopies. The specimens are often associated with folklore and myth and in the era of climate disaster, are some of the casualties of unrelenting drought. Depending on location, epoch, and community, the trees can serve a wide array of purposes and hold a multitude of symbolism.
Icons of the African continent, baobabs also connect to histories of colonialism and slavery. In this context, they’re distorted and mediated by both Gaines’ organizing principles and the acrylic panes. “What you bring to the image, adds to the image,” the artist says.
Numbers and Trees, The Tanzania Baobabs is on view from February 19 to May 24 at Hauser & Wirth West Hollywood.
“Numbers and Trees: Tanzania Series 1, Baobab, Tree #7, Makonde” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow
Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #7, Makonde” (2024), 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow
“Numbers and Trees: Tanzania Series 1, Baobab, Tree #3, Tongwe” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen
Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #3, Tongwe” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen
“Numbers and Trees: Tanzania Series 1, Baobab, Tree #2, Zanaki” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow
Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #2, Zanaki” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow
“Numbers and Trees: Tanzania Series 1, Baobab, Tree #5, Rangi” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen
Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #5, Rangi” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen
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Watery Landscapes Set the Stage for Lachlan Turczan’s Ephemeral Light Installations
by Aurelia Butler 14 February 2025, 13:55
“Veil IV” (2024), water, light, silt, 15 x 15 x 3 feet. All images © Lachlan Turczan, shared with permission
Watery Landscapes Set the Stage for Lachlan Turczan’s Ephemeral Light Installations
February 14, 2025
ArtNaturePhotography
Kate Mothes
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In the dreamy installations of Lachlan Turczan, natural and perceptual phenomena combine in otherworldly installations merging technology with aquatic landscapes. Water is central to the Los Angeles-based artist’s work and helps shape an ongoing series of immersive projects incorporating light and sonic phenomena.
Turczan is influenced by the Light and Space movement, which originated in Southern California in the 1960s and is characterized by the work of John McLaughlin, Robert Irwin, James Turrell, Lita Albuquerque, and more. The movement focused on perception, employing materials like glass, neon, resin, acrylic, and fluorescent lights to emphasize light, volume, and scale.
“Constellation Grid” (2024), water, light, and fog. A swamp in Upstate New York
Many Light and Space artists created installations and immersive spaces conditioned by naturally occurring elements like Turrell’s ever-changing glimpse of the sky through a ceiling aperture for “Space that Sees.” Not only does the view change as clouds roll by or the weather shifts, but the light continuously transforms the entire room.
“While my work shares this lineage,” Turczan tells Colossal, “it diverges in several key ways: rather than exploring the ‘nature of experience,’ I create experiences of nature that challenge our understanding of light, water, and space.” He describes his approach as “complicating” these elements, emphasizing the ever-changing fluidity of the environment.
In Turczan’s ongoing Veil series, light installations unfold organically in locations ranging from Death Valley’s Badwater Basin to a flooded park near the Rhine River. Lasers and beams of light are projected and submerged, capturing the movement of wind, mist, and the water’s surface.
Additional pieces also merge light and water, like “Aldwa Alsael,” which translates to “liquid light,” and was commissioned for the 2024 Noor Riyadh Light Art Festival.
“Veil I” (2024), light, water, and salt. Death Valley, California
“For the most part, these installations unfold organically,” Turczan says. “I may discover a location in nature that seems perfect for a new Veil sculpture, but when I return, the conditions have inevitably changed.” Evolving circumstances require the artist to proceed with an openness to chance encounters that strike a balance between preparation and intuition.
Find more on Turczan’s website, and follow updates on Instagram. (via This Isn’t Happiness)
“Death Valley Veil” (2024), water, light, and haze. Lake Manly, a temporary lake that formed in Death Valley’s Badwater Basin after Hurricane Hillary
“Veil II” (2024), light, water, and steam. Mojave Desert, California
“Aldwa Alsael” (2024), water, light, and steel tower, 25 x 25 x 50 feet
“Veil V” (2024), water and light, 15 x 15 x 3 feet
“Aldwa Alsael”
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In London, an Enormous Exhibition of 500+ Works Roots Out the Creative Seeds of Flowers
by Aurelia Butler 29 January 2025, 20:21
Rebecca Louise Law, “Calyx” (2023). Image courtesy of the artist
In London, an Enormous Exhibition of 500+ Works Roots Out the Creative Seeds of Flowers
January 29, 2025
ArtNaturePhotography
Grace Ebert
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In nature, flowers serve as an essential component of the reproduction process. But for humans, scented blooms are ripe with myriad meanings and symbolism that transcend their biological functions.
During Victorian times, offering a bouquet to someone with your right hand indicated a non-verbal “yes,” while a yellow carnation would reject an admirer. Similarly in art history, wilting flowers rendered as a momento mori remind us of death’s inevitability, and for van Gogh, sunflowers were the perfect stand-in for gratitude.
Aimée Hoving, “Compost” (2019). Image © Aimee Hoving, flowers by Brigitte Gentis van Dam Merrett
A massive exhibition opening next month at Saatchi Gallery cultivates a vast repertoire of works that explores how blooms have become an omnipresent entity in human life and creativity. Flowers: Flora in Contemporary Art and Culture brings together more than 500 photographs, installations, sculptures, archival pieces, and other objects to create a rich landscape spanning millennia.
Anchoring the exhibition is an expansive and immersive work of 100,000-plus dried flowers by Rebecca Louise Law. Smaller pieces include Xuebing Du’s ethereal photos of flowers in natural light, VOYDER’s streaky steam-laden compositions, and lush, vibrant gardens by Faye Bridgewater.
Opening in time to usher in spring in London, Flowers runs from February 12 to May 5.
VOYDER, “In Love with the Idea of You” (2024). Image courtesy of the artist
Kasia Wozniak, “Anemoia #7.” Image courtesy of the artist
Sandra Kantanen, “Still Life (Flowers I).” Image courtesy the artist and Purdy Hicks Gallery
Xuebing Du, “Mother of Pearl” (2018). Image courtesy of the artist
Carmen Mitrotta, “Geometric Leaves.” Image courtesy the artist
Faye Bridgewater, “En Masse” (2025). Image courtesy of the artist
Ann von Freyburg, “Floral Arrangement 1 (After Jan van Huysum, Still Life).” Image courtesy of the artist
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Turn-of-the-Century Tactile Graphics Illustrate Nature for People Who Are Blind
by Aurelia Butler 23 January 2025, 15:21
Insects and crustaceans. Image licensed from the Perkins School for the Blind Archives
Turn-of-the-Century Tactile Graphics Illustrate Nature for People Who Are Blind
January 23, 2025
ArtHistoryIllustrationNature
Kate Mothes
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In the Alsace-Lorraine region, bordering northeastern France and western Germany, the town of Illzach was once home to an institute for the blind. Martin Kunz (1847-1923) directed the school at the turn of the century and produced a remarkable series of embossed graphics that visually impaired students could use to learn about nature and geography.
Accompanied by braille descriptions, Kunz’s educational aids depict a wide range of plants, animals, and maps. To create each page, he hand-carved two wood pieces that formed a mold, into which he sandwiched paper to produce raised illustrations.
Crocodile chasing a man. Image licensed from Perkins School for the Blind Archives
The material was typically thick, and Kunz soaked it in water before placing it between the blocks so that the natural fibers would soften and stretch into shape. Leaves, fish, herons, crocodiles, crustaceans, and more comprise a wide array of designs that he mass-produced and made available to blind students all over the world.
The library of the Perkins School for the Blind holds a collection of dozens of Kunz’s late-19th and early-20th-century tactile graphics, and you can explore more examples from the collection on the Perkins Library’s Flickr.
Below, learn more about Kunz’s process in a video from the Museum of the American Printing House for the Blind, presented by director Mike Hudson. And keep an eye on the APH’s website for news about The Dot Experience, the organization’s museum expansion set to open in 2026 in Louisville, Kentucky, that applies inclusive design standards and brings disability access to the fore.
Various plants. Image licensed from Perkins School for the Blind Archives
Birds. Image licensed from Perkins School for the Blind Archives
Flying fish. Image licensed from Perkins School for the Blind Archives
Tuna and swordfish. Image licensed from Perkins School for the Blind Archives
Squid. Image licensed from Perkins School for the Blind Archives
Birds. Image licensed from Perkins School for the Blind Archives
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nature

Latest story

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

More stories

Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages

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

Reconnecting with the Earth, Cyrah Dardas Collages Paintings with Handmade Pigments

Splashes of Stainless Steel by Zheng Lu Embrace Philosophy, History, and Technology

Charles Gaines Maps the Meanings of Ancient Baobab Trees in Meticulous Charts

Watery Landscapes Set the Stage for Lachlan Turczan’s Ephemeral Light Installations

In London, an Enormous Exhibition of 500+ Works Roots Out the Creative Seeds of Flowers

Turn-of-the-Century Tactile Graphics Illustrate Nature for People Who Are Blind

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