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    Jon Ching Advocates for Six Endangered Hawaiian Birds in Vivid Detail

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    “I’iwi.” All images courtesy of Jon Ching and American Bird Conservancy, shared with permission

    Jon Ching Advocates for Six Endangered Hawaiian Birds in Vivid Detail

    August 19, 2025

    ArtNature

    Grace Ebert

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    Paradise for some, Hawai‘i is a place of ecological contradiction. The islands are known for their beautiful beaches and lush forests, and yet, they’re also home to the largest threats to avian populations. Dubbed “the bird extinction capital of the world,” Hawai‘i has witnessed its forest species decline from 50 to just 17 today.

    A vivid series of paintings by Kaneohe-born artist Jon Ching zeroes in on the magnificent beauty of six endangered Hawaiian honeycreepers, rare creatures found nowhere else on Earth. Ching is a 2024 Conservation and Justice Fellow for the American Bird Conservancy (ABC), an organization dedicated to supporting wild birds and their habitats throughout the Americas. Teaming up with Birds, Not Mosquitoes, ABC has been working to combat non-native mosquitoes on the islands, which have decimated populations with avian malaria.

    “‘Akeke’e”

    Like much of Ching’s work, these paintings are hyperrealistic, portraying the subjects’ soft plumes and scaled claws with impeccable, otherworldly detail. Many are set against flat, graphic backdrops reflective of different aspects of Hawaiian culture. The artist writes on Instagram that the ‘Akeke’e has a “specialized crossbill that helps them open up ‘ōhi‘a lehua buds in search of insects,” adding about the work of the same name:

    I made a patterned design of the ‘ōhi‘a lehua, almost as a contemporary wallpaper or textile design, but have the flower and leaves transforming from 2D to 3D as the birds perch on them. In this way, their presence gives life to this important native tree like it cares for it in the wild.

    Find more about Ching’s work with ABC and the fellowship program on the organization’s website.

    “‘Apapane”

    “Maui ‘Alauahio”

    “Palila”

    “‘Akikiki”

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    • 113 Shares32 Views

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      In ‘JUJU’s Castle,’ Jean Jullien Reinvents His Childhood Escapes

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      All images © Jean Jullien, courtesy of Nanzuka Art Institute, shared with permission

      In ‘JUJU’s Castle,’ Jean Jullien Reinvents His Childhood Escapes

      August 15, 2025

      Art

      Grace Ebert

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      As a child, Jean Jullien (previously) preferred to spend his time immersed in the pixelated worlds of video games, embarking on adventures with action figures, and reinventing himself in RPGs. Imagining a universe parallel to his own offered a joyful refuge when he needed it most.

      Jullien summons this memory for JUJU’s Castle, an enormous, multi-gallery exhibition that invites viewers into the artist’s youthful fantasyland. Rendered in his signature flat, two-dimensional style, monsters, wizards, menacing mushroom creatures, knights, and friendly faces stand ready for play. From tile-esque floors to brightly painted walls to fiery lights lining dungeon walkways, each detail captures Jullien’s exuberant and witty aesthetic. “Years later, as the world seems more and more dire, I’ve decided to visit Juju’s castle once more and to open its doors to the public,” he says.

      Eighty small paintings accompany the larger installations and sculptures and are vignettes of make-believe and amusement. There are games of chess, hand-made masks and costumes, and even an elephant slide like those found on the playgrounds of Taiwan.

      Although his works often appear lighthearted, Jullien frequently responds to some of today’s most pressing issues, including capitalism’s grip on society and the all-too-relatable feelings of existential dread. JUJU’s Castle is another response to contemporary life. He says:

      With constant news of war, global warming, pandemics, and dystopic technological advancements, it seems like our daily lives have become more and more anxiogenic. But there is resistance in the form of escapism, and people have resorted to it in many ways. From video games to role playing games, cosplays, niche literatures, and online communities, people have found means to deviate from the harsh reality.

      If you’re in Shanghai, visit Nanzuka Art Institute before October 26 to immerse yourself in Jullien’s world. Otherwise, explore more of his work on his website and Instagram.

      “Toshima Playground” (2025), acrylic gouache on canvas, 35.5 x 47.7 x 3.3 centimeters

      “Masks” (2025), acrylic gouache on canvas, 35.5 x 47.7 x 3.3 centimeters

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    • 125 Shares52 Views

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      Sthenjwa Luthuli’s Spiritual Paintings Excise Intricate Patterns in Bold Color

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      “Marks Of Identity” (2025), hand carved super wood block mix media, and paint, 136 x 92 centimeters. All images courtesy of Unit London, shared with permission

      Sthenjwa Luthuli’s Spiritual Paintings Excise Intricate Patterns in Bold Color

      August 15, 2025

      Art

      Grace Ebert

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      Through swirling ribbons of color, headless figures dance among densely patterned backdrops, their hands grasping and open. Dressed in tight, form-fitting costumes, these anonymous protagonists are bound by their elaborately carved environments, a metaphor for the experience of South African communities that artist Sthenjwa Luthuli (previously) finds fruitful.

      Luthuli is known for his wood-block paintings brimming with vibrant color and texture. Through a meditative, meticulous process of gouging small pieces of MDF, he renders dense, intricate motifs that envelop his figures in a swath of markings. The artist is particularly interested in African spiritualism and the tenuous relationship between freedom and control for minority communities.

      “Reborn” (2025), hand-carved super wood block mix media and paint, 138 x 184 centimeters

      Next month at Norval Foundation in Cape Town, Luthuli with present a collection of works made between 2010 and 2015. His first institutional solo exhibition, Umkhangu uses African cosmology and symbolism as its guide, considering how a birthmark can be seen as an ancestral presence or a sign of one’s destiny.

      Umkhangu opens on September 11. Find more from the artist on Instagram.

      “The Genetics” Ulibofuzo (2025), hand-carved super wood block mix media and paint, 138 x 184 centimeters

      “Unfinished Business” (2025), hand-carved super wood block mix media and paint, 136 x 92 centimeters

      “Stories We Wear” (2025), hand-carved super wood block mix media and paint, 136 x 92 centimeters

      “Palmistry” (2025), hand-carved super wood block mix media and paint, 136 x 92 centimeters

      “Inner Spark” (2025), hand-carved super wood block mix media and paint, 136 x 92 centimeters

      “Reincarnation” Ukphinda Uzalwe (2025), hand-carved super wood block mix media, and paint, 138 x 184 centimeters

      “Nature’s Unique Signatures” (2025), hand-carved super wood block mix media and paint, 185 x 185 centimeters

      “Past Life Origins” (2025), hand-carved super wood block mix media and paint, 138 x 184 centimeters

      “Diverse Nations, Different Calling” (2025), hand-carved super wood block mix media and paint, 275 x 184 centimeters

      “Continuous Legacy” Ukuqhubeka Kwefa (2025), hand-carved super wood block mix media and paint, 138 x 184 centimeters

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    • 150 Shares44 Views

      in Art

      Sho Shibuya Meditates on Rainy Days and the Fragile Nature of Peace

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      All images courtesy of Unit London, shared with permission

      Sho Shibuya Meditates on Rainy Days and the Fragile Nature of Peace

      August 14, 2025

      Art

      Grace Ebert

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      The ever-observant Sho Shibuya is known for his daily meditations blanketing the covers of The New York Times. From trenchant commentary on global happenings to peaceful gradients depicting the sky, the artist’s paintings are a tactile record of contemporary life, considering elements both in our control and not.

      Shibuya returns to Unit London this month with Falling From The Sky, a collection of works covered in trompe l’oeil droplets. Although typically despised more than bright sun and cloudless skies, rain offers endless inspiration for the artist as he watches a downpour “dance and drift across the glass, creating shapeshifting patterns, leaving streaks that track the wind,” he says. “I love the way these patterns never repeat, perpetually unique.”

      Spanning 30 paintings in acrylic, Shibuya reminds us of the diversity of wet weather. Sometimes we look out and only see haze, while others surprise us with a vivid rainbow of color. The artist is particularly fond of a damp, gray forecast, though. “I met my wife on such a day. It was pouring when we both stepped into a quiet Japanese restaurant, each carrying an umbrella. Our first words, of course, were about the rain,” he says.

      While Shibuya reveres the rain, he’s not one to ignore what it means to enjoy darkened clouds. He says:

      In other parts of the world, the sky is not gentle. It’s not rain that falls, but bombs. The same grey clouds that comfort me here cast shadows of fear elsewhere. Where I see beauty, others see smoke. Destruction. Silence broken not by soft drops, but by blasts. That contrast stays with me. These paintings are not just invitations to pause and reflect, but reminders of what peace looks like. And how fragile it is.

      Falling From The Sky is on view from August 20 to September 17. Explore an archive of Shibuya’s works on Instagram.

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    • 150 Shares101 Views

      in Art

      Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane

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      “Dear Moments” (2025), acrylic gouache on canvas, 51 1/4 x 114 1/2 inches. All images courtesy of Hashimoto Contemporary, shared with permission

      Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane

      August 11, 2025

      Art

      Grace Ebert

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      For Danym Kwon, the concept of home is mutable. The artist (previously) recently relocated to San Jose from her native Seoul, having spent just a few years back in South Korea before realizing that she longed to return to the Bay Area where she lived while her children were young.

      “I may never have had a place to stay forever. But wherever we were together became a home,” Kwon says about her move and the paintings and sculptures that emerged from the experience. “These works are my way of holding onto that—of cherishing the moments that pass too quickly.”

      “A Message of Comfort” (2025), acrylic gouache on canvas in cherry wood foldable frame, 22 1/8 x 33 1/2 x 1 1/8 inches

      On view at Hashimoto Contemporary in New York, Dear Moments presents Kwon’s tender, pastel-hued recollections of family life. Tucked within her signature stacks of laundry are small vignettes of siblings digging in the sand at the beach, a couple wandering through an art museum, and a parent snuggled up in bed with their child and a book. The artist’s vessels are similar, depicting a woman strolling along a candy-colored path or a young boy playing with blocks and a toy car.

      Having worked largely on canvas, she ventures into birch sculpture for this exhibition, plucking the doting characters common within her paintings and presenting them in three dimensions.

      Seemingly mundane, these familial scenes become magical and revered in Kwon’s hands. She beckons viewers into a world where even chores like folding clean clothes offer space for reflection and calm. While we might not treasure such simple moments in the present, Kwon suggests, we should hang on dearly to the small embraces and quiet acts of togetherness that ultimately make us feel at home.

      Dear Moments is on view through August 30. Find more from Kwon on her website and Instagram.

      “Looking together” (2025), acrylic gouache on birch plywood, 9 1/4 x 7 1/4 x 1 1/8 inches

      “A Still Life of You” (2025), acrylic gouache on canvas, 35 3/4 x 28 5/8 inches

      “Sand, Stories and a Small House” (2025), acrylic gouache on canvas, 17 7/8 x 17 7/8 inches

      “Sunday” (2025), acrylic gouache on birch plywood, 12 1/2 x 21 3/4 x 1 1/8 inches

      “My Favorite Path” (2024), acrylic gouache on canvas, 35 3/4 x 28 5/8 inches

      “Little Reader’s Nest” (2025), acrylic gouache on paper in cherry wood frame, 8 1/2 x 8 1/2 x 1 1/2 inches

      Detail of “Dear Moments” (2025), acrylic gouache on canvas, 51 1/4 x 114 1/2 inches

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    • 138 Shares81 Views

      in Art

      Experimenting with Color and Reflection, Kenny Harris Brews Beautiful Still Lifes

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      All images © Kenny Harris, shared with permission

      Experimenting with Color and Reflection, Kenny Harris Brews Beautiful Still Lifes

      August 8, 2025

      ArtDesignFood

      Kate Mothes

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      In 1933, Alfonso Bialetti and his son Renato began to market an aluminum contraption for brewing coffee that would make an indelible mark on Italian culinary culture and beyond. Called a moka pot after the Yemeni city of Mokha, the appliance is still manufactured today by the coffee equipment company Bialetti under the name Moka Express, providing a steam-powered, filterless way to make a rich brew on the stovetop.

      For Venice, California-based artist Kenny Harris, the metallic, faceted surface of the iconic maker inspires an ongoing series of lovely still-life oil paintings. Exploring color and form, the artist focuses on reflections and their effects. Delicate gradients and patterns are mirrored across the pot’s surface, sometimes blurring the boundary between the object and its surroundings.

      “I find delight in searching for harmonies, lost edges, and texture variation,” the artist says. “In the end, these are color experimentations in the tradition of Joseph Albers or Albert Moore: reiteration of the same forms with different color combinations. Also, I love coffee.”

      A solo show of Harris’s work titled Passage opens on September 6 at Galerie Mokum in Amsterdam, and he’s currently working toward another show in early 2026 at Billis Williams Gallery in Los Angeles. Explore more work on the artist’s website and Instagram.

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    • 125 Shares79 Views

      in Art

      Isabella Mellado Summons Sins and Desire in Her Tarot-Inspired Paintings

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      “Pride (Temperance).” All images courtesy of the artist and Povos, shared with permission

      Isabella Mellado Summons Sins and Desire in Her Tarot-Inspired Paintings

      August 7, 2025

      Art

      Grace Ebert

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      What does it mean to sin? In mystical paintings in oil, Isabella Mellado diverges from the Catholic guilt she knows all too well to instead bask in desire and the beauty of transgressions.

      The Chicago-based, Puerto Rico-born artist is known for her magical realist works that draw on tarot and the occult to explore queer identities and Latinidad. Mellado’s most recent exhibition, 7 Pecados, presented a collection of vivid paintings that, like much of her practice, reject Christian strictures. Rather, the artist questions how we might see laziness, gluttony, and lust not as wrongs to be avoided but as empowering and essential to our humanity.

      “Sloth”

      Mellado often begins a piece by staging a photo. She and her accomplices don witchy garments and commune in bodies of water or around fires, their hands occupied with a deck of cards or a chalice. These images serve as the basis for her large-scale paintings, which render the already magical scenes in a dreamy, even mysterious light.

      Whereas Western religions like Christianity have left little room for identities and behaviors that don’t conform to their beliefs, Mellado beckons us into an alternative space where figures are free to revel in pleasure. The characters take on the role of witches and conjurers, those who remain anonymous behind their disguises yet engage resolutely in their own empowerment.

      Mellado’s previous projects include Te Dire Quien Eres, an exhibition at Povos in Chicago that took its central premise from a line in Miguel Cervantes’s Don Quijote de la Mancha: “Tell me who you surround yourself with, and I’ll tell you who you are.” The paintings reject shame around queerness and what’s often considered monstrous, instead honing in on the intimate relationships that inform one’s life and the sacred spaces offered by a coven.

      Find more from Mellado, including the original photos and resulting paintings, on her website and Instagram.

      “Lust (The Lovers)”

      “The High Priestess’

      “Two of Wands”

      “Three of Cups”

      “The Magician”

      “Gluttony (The Emperor Midas)”

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    • 163 Shares117 Views

      in Art

      In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale

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      Lorraine Loots, “Pasta Amatriciana.” All images courtesy of the artists and Paradigm Gallery + Studio, shared with permission

      In ‘Little Italy,’ Dina Brodsky and Lorraine Loots Collaborate on a Tiny Scale

      August 5, 2025

      Art

      Kate Mothes

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      From Manhattan to San Diego to Cleveland, neighborhoods known for their Italian-American populations have endearingly been called Little Italy, where facets of the Mediterranean nation’s culture and cuisine are preserved and celebrated. For artists Lorraine Loots and Dina Brodsky, who both create work on a very small scale, a trip to Italy and a collaborative body of work proved to be a wonderful way to explore this theme quite literally.

      Little Italy, Brodsky and Loots’ duo exhibition on view now at Paradigm Gallery + Studio, chronicles the artists’ trip to the country through itty bitty paintings. Loots works in watercolor, while Brodsky composes in oil, and each draws upon the landscapes, architecture, food, and cultural icons—think Vespas, pizza, spritzes, and the Colosseum—that we associate with La Dolce Vita. Framed, Loots’ works are only five inches across, while Brodsky’s tiny tondos encapsulate vast landscapes within a three-inch diameter surface.

      Dina Brodsky, “Florence, Ponte Vecchio”

      Brodsky and Loots—based in Massachusetts and South Africa, respectively—first connected during the pandemic, inspired by each other’s interest in working in a tiny format. During the trip, they each experienced the place through their unique lens, tapping into memories and associations. Brodsky, who was born in Belarus and whose family traveled as refugees from the Soviet Union to the U.S. in the 1980s, spent a brief period in Italy during this relocation. The nation’s bucolic countryside and ancient architecture stuck with her over time.

      Loots was long fascinated by Italy’s architectural and cultural heritage, and during the trip, she wandered the cobbled streets and plazas with two heirloom film cameras, snapping photos which she then developed once she returned home and used as reference for tiny watercolor paintings.

      In Little Italy, some of Loots’ photographs, along with some of Brodsky’s sketchbooks, illustrate the two artists’ approaches to recording their experiences. The exhibition continues through August 24 in Philadelphia, and you can find more on the gallery’s website.

      Lorraine Loots, “Vespa”

      Dina Brodsky, “Bagnoregio”

      Lorraine Loots, “Bialetti”

      Dina Brodsky, “Rome, Golden Hour”

      Lorraine Loots, “Fontana di Trevi”

      Dina Brodsky, “Orvieto, Dawn”

      Lorraine Loots, “Colosseo”

      Dina Brodsky, “Siena, Dawn”

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    • 163 Shares96 Views

      in Art

      Gabrielle Garland’s House Portraits Illuminate Daily Life, Individuality, and the ‘Fabric of Society’

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      “Good morning, winner. Take a deep breath. Good. You’re ready to dominate this day. —
      Motivational Voice,
      Booksmart (2019)” (2024), acrylic and oil on canvas, 48 x 48 inches. All images courtesy of the artist and Miles McEnery Gallery, shared with permission

      Gabrielle Garland’s House Portraits Illuminate Daily Life, Individuality, and the ‘Fabric of Society’

      July 31, 2025

      Art

      Kate Mothes

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      Gabrielle Garland may not depict people in her square-format, mixed-media paintings, yet the works might as well be described as portraits. From mailboxes and landscape choices to colorful stoops and glowing interior lights, her vibrant depictions of houses seem to come alive with saturated color and almost palpable feeling.

      Distorted, even cartoonish, Garland’s homes portray a range of American vernacular styles, from ranches to bungalows to Queen Annes. Often, neighborhood happenings enter the scene, like the shoulder of an adjacent house, power lines, trees, or planes flying overhead.

      “Remember, you’re the one who can fill the world with sunshine. — Snow White, Snow White and the Seven Dwarfs (1937)” (2024), acrylic and oil on canvas, 36 x 36 inches

      A new solo exhibition of Garland’s work opens at Miles McEnery Gallery next month, titled I’ll Get You, My Pretty, and Your Little Dog Too. Her titles typically reference quotes from films, ranging in tone and topic as much as her homes also appear to do.

      “Stairs, flower boxes, and mailboxes swell or shrink disproportionately, revealing the distortions of the artist’s memory (that murky area where structural logic intermingles with emotional noise),” says a gallery statement. Whether depicted at night, during fireworks displays, in a storm, or in the blazing sun, the details of each house converge with out-of-context sentiments from movies that draw us into their unique characteristics and quirks while also affording a playful insight into the artist’s frame of mind.

      Garland takes inspiration from everyday observations around her home in New York and beyond. She often works from her own photographs, sometimes using found images. “My body of work might be interpreted as an investigation of the physical fabric of society,” Garland told Dovetail. “I believe it documents the constantly shifting balance between our desire for independence and interconnection, between the comfort and familiarity we seek and the strangely disorienting spaces we create.”

      I’ll Get You, My Pretty, and Your Little Dog Too opens on September 4 and continues through October 25 in New York City. Find more on Garland’s website and Instagram.

      “Whoever you are, I have always depended on the kindness of strangers. —Blanche DuBois, A Streetcar Named Desire (1951)” (2025), acrylic, oil, and glitter on canvas, 48 x 48 inches

      “I’m glad he’s single because I’m going to climb that like a tree. —Megan, Bridesmaids (2011)” (2024), acrylic on canvas, 48 x 48 inches

      “We have enough. You can stop now. —Ava Fontaine, Lord of War (2005)” (2024), acrylic, molding paste, glitter, and oil on canvas, 48 x 48 inches

      “And… and… c’mon, Nick, what do you expect? To live happily ever after? —Elizabeth James, The Parent Trap (1998)” (2024), acrylic, oil, and glitter on canvas, 48 x 48 inches

      “I don’t bite, you know… unless it’s called for. —Regina Lampert, Charade (1963)” (2024), acrylic on canvas, 48 x 48 inches

      “I’m scared. —Christine, Before I Go to Sleep (2014)” (2025), acrylic and glitter on canvas, 36 x 36 inches

      “That is why every day we pray for rain. —Daena, Planet of the Apes (2001)” (2024), acrylic and glitter on canvas, 36 x 36 inches

      “It’s just, living alone, you know? And, the thought of buying those books like Cooking For One, and… it’s just too depressing. —Allison Jones, Single White Female (1992)” (2024), acrylic on canvas, 48 x 48 inches

      “I guess it feels different when it’s someone you love —Cassandra, Promising Young Woman (2020)” (2025), acrylic on canvas, 36 x 36 inches

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