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

    “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

    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

    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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    Dinosaurs Overrun a World Post Climate Disaster in Michael Kerbow’s Paintings

    “Late Capitalism.” All images © Michael Kerbow, shared with permission

    Dinosaurs Overrun a World Post Climate Disaster in Michael Kerbow’s Paintings

    January 17, 2025

    ArtClimateNature

    Jackie Andres

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    After ending another year of record-breaking climate statistics, we stand at the precipice of 2025, which has already revealed its own devastating challenges. As the window for meaningful change continues to narrow during the next several years, we’re left to wonder what the world might look like if we stay on this path. Through the lens of hyper-consumerism, San Francisco-based artist Michael Kerbow (previously) envisions the future in his wry and imaginative landscape paintings.

    Swarming decayed gas station roofs, perching atop abandoned vehicles in forests, and sauntering past crumbling highways and fast food joints, the dinosaurs in Kerbow’s paintings govern a world overrun by the effects of late-stage capitalism. Hints of climate devastation reveal themselves through small details in the background, such as volcano eruptions, dense, hazy skies, and pools of floodwater.

    “Bypass”

    Kerbow scatters familiar signage and advertisements from recognizable chains within his scenes to introduce humor and make his work more approachable. However, the artist emphasizes the gravity of the issue at hand:

    We like to believe everything we currently have will always be there for us, but I suspect it could just as easily fall apart and slip away.  I try to stay optimistic about the future, but the truth is I am troubled by where I see things appear to be headed, specifically with the health of our ecosystem. Each passing year seems to bring more alarming statistics, and this comfortable place we call home seems to grow more precarious.  It is sobering to consider my artwork as foreshadowing a future reality.

    As Kerbow continues to make new paintings, you can follow along on Instagram and see his website for more.

    “Adaptive Reuse”

    “Vestige (Golden Arches)”

    “Black Monday”

    “Highwater”

    “Glade”

    “Economic Decline”

    “Siren Song”

    “Shadowplay”

    “Oasis”

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    Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases

    Mural on the Southeast Financial Center building in Miami, Florida. All images courtesy of Mantra and Justkids.art, shared with permission

    Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases

    January 10, 2025

    ArtNature

    Kate Mothes

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    French artist Youri Cansell, a.k.a. Mantra (previously) continues to brighten neighborhood streets and large cities alike with his vivid insect murals. Drawing on a fascination with nature and its preservation, he creates monumental specimen cases on buildings around the world, filled with a wide variety of butterflies.

    The artist recently completed his largest mural to date in Miami, positioned on the rooftop of the Southeast Financial Center building. Nestled into the surface of a characteristically organized case, a range of colorful butterflies rest alongside the structure’s utility systems.

    Detail of progress on mural in Miami

    The mural features numerous species, including the endangered Miami blue butterfly that’s native to South Florida. “It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” the artist says.

    Additional recent projects include a giant glass-fronted display on the side of a building in Brooklyn and a towering, narrow composition in downtown Houston. Find more on Mantra’s website and Instagram.

    Houston, Texas

    Brooklyn, New York

    Crans-Montana, Switzerland

    Breda, The Netherlands

    Detail of progress on mural in Miami

    Rombas, France

    Detail of progress on mural in Miami

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

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

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

    December 21, 2024

    ArtNature

    Jackie Andres

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

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

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

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

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    Tropical Birds Burst to Life in the Intricate Paper Cutouts of ‘The Parrot Project’

    All images courtesy of The Paper Ark, shared with permission

    Tropical Birds Burst to Life in the Intricate Paper Cutouts of ‘The Parrot Project’

    December 18, 2024

    ArtCraftNature

    Kate Mothes

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    The Paper Ark, a collaboration between Nayan Shrimali and Venus Bird (previously), celebrates the diverse beauty of our planet’s wildlife. In The Parrot Project, a new series of intricate paper-cut pieces, the striking creatures take center stage in vivid color.

    “This series focuses on the vibrant beauty of parrots and their contribution to the ecosystem,” say the Ahmedabad, India-based artists, who created 40 different species during the course of one year. Each piece is meticulously hand-cut and painted, realistically depicting the feathered beings.

    The Paper Ark’s collection captures the vibrancy of myriad tropical avian varieties, from the bright blue, yellow, and red of the macaw to the dramatic flash of color in the red-tailed black cockatoo.

    “We want our audience to not just appreciate the beauty of this wonderful species but also understand its importance in nature,” the pair says. Ten percent of proceeds from sales of this series will be donated to a parrot conservation organization.

    See more on The Paper Ark’s website and Behance, and follow updates on Instagram.

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    Colossal’s Top Articles of 2024

    Image courtesy of Wally Dion

    Colossal’s Top Articles of 2024

    December 10, 2024

    ArtColossalDesignHistoryNaturePhotography

    Colossal

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    Throughout 2024, we were awed by archaeological finds, vibrant paintings, striking sculptures, remarkable photography, immersive installations, and so much more. It’s tough to choose only 10 top articles for the year!

    Lucky for us, dear Colossal readers, you’ve helped pick the best. Below, dive into our most-read stories on the site during the past twelve months, and find hundreds more in the archive.

    “Untitled (after François Gérard)” (2023), oil on canvas, 100 x 80 centimeters. Images © Ewa Juszkiewicz, courtesy of Almine Rech

    Ewa Juszkiewicz’s Reimagined Historical Portraits of Women Scrutinize the Nature of Concealment

    From elaborate hairstyles to hypertrophied mushrooms, an array of unexpected face coverings feature in Ewa Juszkiewicz’s portraits. Drawing on genteel likenesses of women primarily from the 18th and 19th centuries, the artist superimposes fabric, bouquets of fruit, foliage, and more, over the women’s faces.

    Image courtesy of Greg Jensen

    A Rare Cross-Section Illustration Reveals the Infamous Happenings of Kowloon Walled City

    At its height in the 1990s, Kowloon Walled City in Hong Kong housed about 50,000 people. Its population is unremarkable for small cities, but what set Kowloon apart from others of its size was its density. For a now out-of-print book titled Kowloon City: An Illustrated Guide, artist Hitomi Terasawa drew a meticulous cross-sectioned rendering of the urban phenomenon to preserve its memory.

    Image © Isak Finnbogason

    Remarkable Drone Footage Captures a New Volcanic Eruption in Iceland

    In January, photographer and drone pilot Isak Finnbogason captured stunning footage of an eruption on Iceland’s Reykjanes peninsula in December, documenting the nearly two-mile-long lava vent on the first day it was active. 

    “Water Lilies in Bloom” (2023), oil on canvas. Image courtesy of Erin Hanson

    Landscapes Radiate Light and Drama in Erin Hanson’s Vibrant Oil Paintings

    In vivid pinks, blues, and greens, radiant landscapes emerge in Erin Hanson’s impressionistic oil paintings. The artist is based in Oregon’s Willamette Valley, where the rolling hills and surrounding mountain ranges cradle miles of vineyards.

    Image © Richard Johnson

    Framed by Frozen Lakes, Richard Johnson’s ‘Ice Huts’ Capture Wintertime Communities in Canada

    Every year, Ontario’s 279-square-mile Lake Simcoe draws more people for its ice fishing than any other lake in North America, attracting upwards of 4,000 huts each year. The colorful villages caught the eye of Toronto-based architectural photographer Richard Johnson (1957-2021), who captured hundreds of the structures, from the artistic to the ad-hoc, in a series of bold portraits taken between 2007 and 2019.

    Image courtesy of the Italian Ministry of Culture / AFP Photo

    Archaeologists Discover an Extraordinary 2,100-Year-Old Mosaic Near the Colosseum

    Early this year, we shared news that the Italian Ministry of Culture had a remarkable find in the heart of Rome. In the late Republican era, a luxurious townhouse had been laden with designs made from shells, glass, white marble, and Egyptian blue tiles. A large “rustic” mosaic dating to the last decades of the 2nd century B.C.E.—a little over 2,100 years ago—was likely inspired by the decorative styles of Near East monarchies.

    ‘The Whole Booke of Psalmes.’ London: Company of Stationers, 1643. Image courtesy of The Grolier Club

    Spanning Seven Centuries, ‘Judging a Book by its Cover’ Celebrates an Enduring Art

    The Grolier Club’s exhibition, Judging a Book by its Cover, highlighted some of the most unique editions within its collection, including a pigskin- and brass-bound Jewish Antiquities and the Jewish War created for a Benedictine monastery in Bavaria around 1473—the oldest in the club’s library. The collection also features several religious texts, like the miniature book of psalms shown above, made by women at the Royal Exchange in London with a variety of silk and gold threads.

    Image courtesy of Wally Dion, shared with permission

    Vivid, Translucent Quilts by Wally Dion Stitch Together Indigenous Culture and Making Traditions

    For many rural and economically strapped communities throughout history, quilting was a necessity. Tattered clothing and blankets were cut up and refashioned into new blankets, their patchwork styles evidence of the fabrics’ earlier uses. For Indigenous people, though, quilts “hold a particularly important cultural value,” says artist Wally Dion, “appearing as gifts, ceremonial objects, and celebratory markers.”

    “লয় [Loy]” (2019), Arjunpur Amra Sabai Club, Kolkata. Photo by Vivian Sarky. Image courtesy of Asim Waqif

    Immersive Bamboo Installations by Asim Waqif Whirl and Heave in Monumental Motion

    In his monumental, swirling structures, Delhi-based artist Asim Waqif merges tenets of architecture and sculpture into sweeping site-specific compositions. Using natural materials like bamboo and pandanus leaves, he often incorporates found objects, scaffolding, sound elements, cloth, and rope.

    “Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. Image courtesy of JiSook Jung

    From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

    JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”

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