More stories

  • in

    Psychedelic Distortions and Glitches Streak Across Alexis Mata’s Bold Paintings

    All images courtesy of Alexis Mata and The Hole, shared with permission

    Psychedelic Distortions and Glitches Streak Across Alexis Mata’s Bold Paintings

    December 20, 2024

    Art

    Grace Ebert

    Share

    Pin

    Email

    Bookmark

    From digital glitches to mind-bending distortions, Mexico City-based artist Alexis Mata is interested in how visual information gets lost or skewed as it shifts from one context to another. In his oil paintings, bouquets and vast desert landscapes spread across the canvas as if melting or stretching into unrecognizable forms. “When your eyes look too long at the same thing, your mind makes the change,” he shares.

    Mata excavates the relationship between analog and digital realms, and his process incorporates both modes of artmaking. Preliminary sketches fill notebooks that travel everywhere the artist does, while he continually snaps photos and records video as references.

    AI experiments help Mata better translate the strange, disorienting outcomes that these rapidly evolving tools can produce. But his research isn’t just visual. “I enjoy experimenting by writing poems or haikus in AI and seeing what emerges. It’s an exploratory process,” he notes.

    Rendered in bold color palettes, the trippy paintings draw connections between digital mishaps and the ways our brains warp an image, whether in moments of intense focus, dream states, or with the help of hallucinatory substances. “I like to think that entire worlds are created within dreams, and these worlds ask to be brought into the light,” he says.

    Many of the paintings shown here are on view in Fata Morgana through January 25 at The Hole in Tribeca. Explore more of Mata’s work, which spans stained glass and textiles to drawing and sculpture, on his website and Instagram.

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Previous articleNext article More

  • in

    Guadalupe Maravilla’s Volcanic Rock Sculptures Invoke Resilience and Regeneration

    “Dream Backpack 1” (2023), volcanic rock and objects collected from a ritual of
    retracing the artist’s original migration route, 16 1/4 x 12 1/4 x 4 1/2 inches. All photos by JSP Art Photography, courtesy of Guadalupe Maravilla and P·P·O·W, shared with permission

    Guadalupe Maravilla’s Volcanic Rock Sculptures Invoke Resilience and Regeneration

    December 13, 2024

    Art

    Grace Ebert

    Share

    Pin

    Email

    Bookmark

    With the region’s smallest geographic footprint, El Salvador boasts the second-highest number of volcanos in Central America. The country is located on the Ring of Fire, a tectonic band that encircles the Pacific Ocean and houses about two-thirds of all volcanos worldwide. Given its eruptive landscape, much of the soil is rich in ash.

    In a series of sculptures, Guadalupe Maravilla (previously) draws on his home country as he sculpts backpacks and enlarged hands from volcanic rock. The works reference the artist’s migration from civil war-era El Salvador as an unaccompanied minor, a traumatic journey that remains a central theme in his practice.

    “Luz y Fuerza” (2024), oil on volcanic rock, 14 x 14 x 4 inches

    A trio of pieces, titled Dream Backpacks, refers to “how we immigrate to the U.S. by land and carry everything we own in a backpack in search of the American Dream,” Maravilla writes in a statement. Embellished with pink, purple, and blue paints, the poignant works display a variety of charms—feathers, a small cat figure, and metal details like a spigot—the artist collected while retracing his childhood route.

    Other works take the form of a burly hand cradling smooth shapes featuring pieces redolent of retablos, small devotional paintings often invoking protection during times of hardship. Lightning bolts, stars, and snakes recur throughout the compositions, along with references to the artist’s colon cancer diagnosis, which he has long linked to the trauma he suffered as a child.

    December 12 is special to Maravilla and titles one recent work featuring linked wishbones, crystals, and the children’s rhyme “Sana, sana, colita de rana,” which translates to “heal, heal, little frog’s tail.” As Maravilla shares on Instagram, “On 12/12/12 I found out I had cancer. 12/12/13 I overcame cancer. Today, I am starting a new chapter 12/12/24 with a special meditation.” Similarly, a cake with a “0” candle appears in “Luz y Fuerza,” which resembles a pastry the artist once used to celebrate both his birthday and what he considers his rebirth as cancer-free.

    Citing resilience amid struggle, Maravilla’s sculptures call on healing and regeneration. Volcanic ash, after all, is one of the most potent natural fertilizers and a key factor in sparking new growth.

    Maravilla is represented by P·P·O·W Gallery in New York, where you can find more of his work.

    “12/12/24” (2024), oil on volcanic rock, 13 3/8 x 13 3/8 x 4 1/8 inches

    “Dream Backpack 3” (2023), volcanic rock and objects collected from a ritual ofretracing the artist’s original migration route, 16 1/4 x 12 x 4 3/4 inches

    “Self Love” (2024), oil on volcanic rock, 13 3/8 x 13 3/4 x 4 7/8 inches

    “Heal Seven Years Back” (2024), oil on volcanic rock, 13 3/8 x 13 3/4 x 5 1/2 inches

    “Dream Backpack 2” (2023), volcanic rock and objects collected from a ritual of retracing the artist’s original migration route, 16 1/2 x 12 1/4 x 4 1/4 inches

    “Sana 7 Años Atras” (2024), oil on volcanic rock, 14 1/8 x 14 x 4 3/4 inches

    “Si No Sanas Hoy Sanarás Mañana” (2024), oil on volcanic rock, 13 3/8 x 14 1/8 x 4 3/8 inches

    “Sana Sana Colita de Rana” (2024), oil on volcanic rock, 14 1/8 x 13 3/4 x 4 7/8 inches

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Next article More

  • in

    Three Women Artists Gather for The Jaunt and Hashimoto Contemporary’s ‘Winter Camp’

    Seonna Hong, “Rest as an Act of Defiance” (2024), acrylic, oil pastel, and tape on raw canvas, 51 x 65 inches. All images courtesy of The Jaunt and Hashimoto Contemporary, shared with permission

    Three Women Artists Gather for The Jaunt and Hashimoto Contemporary’s ‘Winter Camp’

    December 12, 2024

    Art

    Kate Mothes

    Share

    Pin

    Email

    Bookmark

    Through a unique collaboration between The Jaunt and Hashimoto Contemporary, three women artists spent a week together in the small town of Shelton, south of Olympia National Park.

    Hiking, delving into the area’s history, and learning about each other’s work, Bianca Nemelc, Genevieve Cohn, and Seonna Hong participated in the first Winter Camp. Given space and time away from their daily routines, the artists were invited to find inspiration from their new surroundings.

    Genevieve Cohn, “We Sow a Softness” (2024), acrylic on canvas, 36 x 24 inches

    The Jaunt was founded in 2013 by Jeroen Smeets, who curates the project and facilitates travel for artists to destinations worldwide. The program doesn’t assign a specific agenda or brief; the primary goal is to provide new experiences that inspire the creative process.

    Cohn, Hong, and Nemelc focused predominantly on painting and works on paper, responding to the act of gathering and the lush, natural environment of the Pacific Northwest.

    “Sharing common threads and divergent paths amongst each other’s experiences as artists and women navigating the world, the week-long residency allowed artists from different locales, backgrounds, and generations to create community,” says a statement about the program.

    Winter Camp is on view at Hashimoto Contemporary’s San Francisco location through December 21. Find more on the gallery’s website, and you can also explore more from The Jaunt.

    Bianca Nemelc, “Sun Catcher” (2024), acrylic on canvas, 50 x 60 inches

    Seonna Hong, “Get Your Bag” (2024), acrylic and oil pastel on raw canvas, 30 x 24 inches

    Genevieve Cohn, “To Hold, To Harbor” (2024), acrylic on canvas, 48 x 36 inches

    Bianca Nemelc, “Flower in Breeze” (2024), acrylic on canvas, 30 x 24 inches

    Genevieve Cohn, “Exercises in Attention” (2024), acrylic and conté on paper, 30 x 22 inches

    Seonna Hong, “Investigations” (2024), acrylic and oil pastel on raw canvas, 30 x 24 inches

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Previous articleNext article More

  • in

    Fantastic Blooms Entwine with Sculptural Motifs in Mevlana Lipp’s Imagined World

    “Zenith” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters. All images courtesy of the artist and Capsule Venice, shared with permission

    Fantastic Blooms Entwine with Sculptural Motifs in Mevlana Lipp’s Imagined World

    December 10, 2024

    Art

    Grace Ebert

    Share

    Pin

    Email

    Bookmark

    Behind barred motifs evocative of a wrought iron fence, otherworldly flowers are in full bloom, their heads stretching wide and tall while tendrils and leafy vines wind around the open barriers. Rendered in contrasting palettes of jewel tones and pale, muted hues, these uncanny plants are part of the latest body of work by Mevlana Lipp.

    While visiting Venice earlier this year, the Cologne-based artist admired the elaborately patterned fencing that wove its way throughout the historic islands. “As I wandered through the city, I noticed the intricate metal bars on many windows,” he says. “For me, these bars symbolize a barrier between the world I inhabit and the fictional place I long for.”

    “Seven” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

    Vista is the culmination of this inspiration and presents an electrifying botanical collection. For these pieces, Lipp continues to meld painting and sculpture, as he layers acrylic paint, ink, and sand onto intricately cut wooden panels, which he positions atop velvet. This soft material interacts with the mottled, spotted, and patterned textures of the painted components and bolsters the sense of depth, becoming a vast chasm behind the fantastical florals.

    Compared to his previous works, though, Vista ventures into warmer, brighter color palettes. The artist shares:

    While the dark blue, green, and lilac backgrounds often create a sense of infinite voids, I wanted to explore other imageries as well. Think of an icy cold mist or a red desert stretching endlessly into the distance. I wanted to create works which have a wider array of temperatures.

    Lipp’s interest in expanding his palette dovetails with the symbolic elements of his work. As the artist sees it, plants are metaphors for base instincts and emotion, as they commune with each other and various species without the same social and cultural pressures of humans. Broadening his formal approach offers more room for spontaneity and unrestrained exchanges. “When you walk into the forest, you take a look at all the existing connections, at how things interact with each other without fear,” he says. “Plants don’t run the risk of hurting each other’s feelings.”

    Vista is on view through December 15 at Capsule Venice. Find more from Lipp on Instagram.

    “Cassiopeia” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

    “Coil” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

    “Halo” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

    “Ice” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

    “Cassiopeia” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Next article More

  • in

    Colossal’s Top Articles of 2024

    Image courtesy of Wally Dion

    Colossal’s Top Articles of 2024

    December 10, 2024

    ArtColossalDesignHistoryNaturePhotography

    Colossal

    Share

    Pin

    Email

    Bookmark

    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.”

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Previous articleNext article More

  • in

    In Chicago, an Expansive Exhibition Offers a New Vision of Himalayan Art

    Losel Yauch. “Procession Immemorial.” Installation view of ‘Reimagine: Himalayan Art Now’ at Wrightwood 659. All photos by Michael Tropea, shared with permission

    In Chicago, an Expansive Exhibition Offers a New Vision of Himalayan Art

    December 4, 2024

    ArtSocial Issues

    Grace Ebert

    Share

    Pin

    Email

    Bookmark

    Suspended in the atrium of Wrightwood 659 in Chicago is a three-story installation of vibrant prayer flags in yellow, green, white, red, and blue cascading from above. Five sculptural horses emerge through the lush curtain of textiles at varying points, appearing to gallop mid-air.

    Each flag’s color refers to the five elements and states of mind in Tibetan Buddhism. Yellow, for example, denotes earth and wisdom, while green references water and equanimity. White is air and purity, blue is space and endurance, and red refers to fire and compassion.

    Asha Kama Wangdi, VAST Bhutan, “The Windhorse (lungta)” (2024), cloth and metal

    By Bhutanese artist Asha Kama Wangdi, the monumental work utilizes the Buddhist tradition of lungta (wind horses), which are symbols of positive energy and good luck thought to carry prayers to the heavens. For this installation, the artist collected tattered and worn flags that broken loose and scattered across the landscape. This shift from spiritual object to a source of pollution inspired Asha Kama Wangdi, as he explored the contradiction between sacred practice and environmental care.

    “The Windhorse” is one of dozens of works included in Reimagine: Himalayan Art Now, a large-scale exhibition curated by Michelle Bennett Simorella of the Rubin Museum of Himalayan Art in New York. As the title suggests, the show aims to present a more contemporary view of Tibet, Nepal, Bhutan, and other Himalayan regions.

    Bennett Simorella tasked 28 artists with pairing objects from the Rubin’s collection with their works, contextualizing today’s aesthetic and making practices within a long history of artists and crafters. Featuring works from across hundreds of miles of the Himalayan region, Reimagine is broad in scope, style, and medium, yet retains several throughlines.

    For example, New York-based artist Losel Yauch presents a riderless cavalry of woven horses in “Procession Immemorial,” which similarly draws on the concept of wind horses. Stitched onto their silk coats are images from stories the artist’s grandfather shared about fighting for freedom in his home of Kham in east Tibet.

    Shraddha Shrestha, “Dus Mahavidyas (Great Goddesses of Wisdom): Kamala” (2023), acrylic on canvas. Photo by Dave De Armas

    Also on view is a vibrant collection of paintings Shraddha Shrestha, who reinterprets the doe-eyed Powerpuff Girls as Hindu goddesses. The artist was raised in Patan, one of Nepal’s most historic cities, and shares in a statement:

    Growing up in a conservative, patriarchal Newari household meant staying within a lot of cultural, social, and gender boundaries. All the girls and women in my family were used to catcalling, unwanted stares from the neighbors, being scolded by male family members for dressing with our knees showing, getting judged for walking with a male friend, and being shouted at for reaching home after dark.  

    After school, Shraddha Shrestha enjoyed watching American cartoons, particularly the trio with superpowers. These animated characters soon became fixtures in her imaginary world, which combined facets of her home city with the girls’ strong-willed attitudes.

    “Womanhood should be celebrated. Instead, we need to fight for basic things like education, work, health, and more,” she says. “Doesn’t it contradict the tradition we believe in? Doesn’t it disrespect the deities we worship?”

    The second iteration of Reimagine, which was originally shown at the Rubin earlier this year, is on view through February 15.

    Asha Kama Wangdi, VAST Bhutan, “The Windhorse (lungta)” (2024), cloth and metal.

    IMAGINE (a.k.a. Sneha Shrestha), sculpture fabricated and engineered by Black Cat Labs, “Calling the Earth to Witness” (2023), acrylic on masonite, steel

    Tsherin Sherpa in collaboration with Bijay Maharjan and Regal Studio Metal casting team, including Durga Shrestha, Sajal Siwakoti, and Sangita Maharjan, “Muted Expressions” (2022), bronze.

    Tsherin Sherpa in collaboration with Bijay Maharjan and Regal Studio Metal casting team, including Durga Shrestha, Sajal Siwakoti, and Sangita Maharjan, “Muted Expressions” (2022), bronze.

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Next article More

  • in

    Masakatsu Sashie’s Mysterious Spheres Hover Over Post-Apocalyptic Landscapes

    “TOKI.” All images courtesy of Masakatsu Sashie, shared with permission

    Masakatsu Sashie’s Mysterious Spheres Hover Over Post-Apocalyptic Landscapes

    December 2, 2024

    Art

    Kate Mothes

    Share

    Pin

    Email

    Bookmark

    Encircling eerie orbs, architectural elements and neon signs hover above urban landscapes and fields of detritus in Masakatsu Sashie’s oil paintings. His fantastical, post-apocalyptic scenes envision Earth “as a representation of the universe,” the artist tells Colossal.

    Sashie adds, “This led me to the idea of symbolically expressing the sphere. My inspiration came from designs that feature circles symbolically composed within rectangles, such as the Japanese national flag, Hanafuda cards, and mandalas.”

    “Phantasm (night)”

    Sashie begins by gathering images related to a theme, such as signage, aging buildings, or retro motifs. He works from his own photographs, in addition to images he finds online. Likening the composition to a two-dimensional assemblage, he then merges all of the shapes into floating globes, rendered in oil on canvas.

    Devoid of people, Sashie’s landscapes interrogate the nature of mass consumerism, waste, and aging infrastructure. Like some of sci-fi’s most iconic spaceships—think the Death Star from Star Wars—the illuminated spheres appear to run on inexplicable sources of energy, leaving their internal workings or possible inhabitants a total mystery.

    If you plan to be in Melbourne in May, Sashie’s work is slated for an exhibition at Outré Gallery, followed by another show in July at i GALLERY in Osaka. In the meantime, dive deeper into the artist’s imaginary worlds on Instagram.

    “Phantasm (day)”

    “Echo”

    “Concrete”

    “Shield”

    “Hall”

    “Boiler”

    “SYMBOL パ”

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Previous articleNext article More

  • in

    Swans, Plants, and Fragmented Figures Warmly Embrace in Yool Kim’s Paintings

    “Sitting on the Couch.” All images courtesy of Yool Kim, shared with permission

    Swans, Plants, and Fragmented Figures Warmly Embrace in Yool Kim’s Paintings

    November 28, 2024

    Art

    Grace Ebert

    Share

    Pin

    Email

    Bookmark

    Warmth permeates Yool Kim’s most recent body of work, which portrays tangled masses of limbs and swans in rich palettes of reds, pinks, and oranges.

    Laying dense lines in acrylic paint, the Seoul-based artist examines the interactions between living things and their sometimes contradictory desires. Her new paintings entwine fragmented iterations of human figures with graceful black and white birds, monsteras, and ferns to explore peace and equality.

    “A Peaceful Afternoon”

    “I wanted to express the beauty of being able to care (for) the weak and taking care of each other, without a sense of superiority and inferiority in living things that are set by the world,” Kim tells Colossal. “By hugging, touching, or leaning on each other, I highlighted the meaning of connection and warmth.”

    As with earlier bodies of work, this series similarly explores the fractured nature of the self. Kim shares that she’s feeling calmer and more tranquil these days, which is reflected in the ways figures stretch to embrace one another.

    “I also wanted to express that I have many egos and personalities within me; I am a human being full of complexity who cannot grasp existence as a single disposition,” she adds. “I’m always considering myself.”

    Kim will show paintings in several exhibitions this spring, the first of which opens in March at Hall Spassov in Seattle. Find more of her work on Instagram.

    “An Autumn Night”

    “Cozy & Silent”

    “Dream”

    “Let Me Shine, Let You Shine”

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Next article More