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Matt Roussel’s Textured Woodcuts Metamorphose into Paintings
by Aurelia Butler 18 February 2025, 19:16
All images courtesy of Matt Roussel, shared with permission
Matt Roussel’s Textured Woodcuts Metamorphose into Paintings
February 18, 2025
Art
Kate Mothes
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From elaborate portraits to overflowing florals to playful animals, the woodcuts of Matt Roussel (previously) tell a wide range of enigmatic stories. For his large-scale works, Roussel begins by carving wooden panels, but rather than using the blocks to make prints, he applies acrylic paint to the surfaces to create bold, textured paintings. Portraits of women wearing unique garments are complemented by goldfish that metamorphose into birds and giant scarab beetles cloaked in giant flowers.
Roussel’s work will be on view in several forthcoming art3f fairs throughout Europe, with Strasbourg, Nantes, and Lyon coming up in late February and March. Find more on the artist’s website and Instagram.
“Three Flowers Scarab,” acrylic on carved wood
Detail of “Three Flowers Scarab”
“Métamorphose,” acrylic on carved wood, 60 x 60 centimeters
“Fleur de Zhou,” acrylic on carved wood
“Poisson pipe,” acrylic on carved wood, 60 x 80 centimeters
“La grande fleur,” acrylic on carved wood, 120 x 80 centimeters
“Golden dance,” acrylic on carved wood, 60 x 80 centimeters
“3 cimes,” acrylic on carved wood, 120 x 80 centimeters
Detail of “3 cimes”
“La falaise,” acrylic on carved wood, 60 x 80 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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Announcing Joy Machine, a New Art Gallery in Chicago
by Aurelia Butler 10 February 2025, 10:00
Abi Castillo, “Blooming” and “Blue Caterpillar” (2025), ceramic
Announcing Joy Machine, a New Art Gallery in Chicago
February 10, 2025
Art
Grace Ebert and Christopher Jobson
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As Colossal prepares to turn 15 this year, we’ve been thinking a lot about what it means to be part of a creative community. During the last decade and a half, we’ve spoken with thousands of artists, designers, and makers and cultivated a vast network of friends and colleagues around the globe. Publishing has been one of the greatest joys of our lives and demonstrated again and again how art can connect us all.
We’re incredibly excited to share that we’re expanding our footprint right here in our home of Chicago. Our new art gallery, Joy Machine, opens on February 21.
Michael McGrath, “Night Ride, Spring Gods” (2025), colored pencil on wood panel, 10 x 8 inches
A year in the making, Joy Machine is built around the belief that amid deep uncertainty and upheaval, joy becomes an indispensable gateway to hope. As we navigate this incredibly difficult time, we’re interested in coming together to expand our power to feel and process experiences good and bad.
Our first exhibition, Light Preserver, features nine artists who cultivate and ritualize joy through humor, nostalgia, vibrancy, and excitement for new possibilities. Whether reflecting on childhood fun or invoking art’s ability to rescue us from depression, each artist taps into our shared humanity—not to evade difficult realities but to find meaning and purpose amid chaos. In this way, joy becomes an essential antidote to despair and a fundamental lifeline to keep us all afloat.
Light Preserver features work by many artists you’re probably familiar with, including Moises Salazar Tlatenchi, David Heo, Liz Flores, Peter Frederiksen, Danym Kwon, Lisa Congdon, Michael McGrath, Jeff Rubio, and Abi Castillo.
Colossal will continue publishing independently as it always has, and when Joy Machine’s projects fit Colossal’s mission, we’ll be sure to share them with you all here.
If you’re in Chicago, please join us to celebrate Joy Machine’s opening on February 21. You can follow the gallery on Instagram, and sign up for the newsletter on the website.
Danym Kwon, “When Small Happiness Found Us” (2025), acrylic and acrylic gouache on canvas, 18 x 18 inches
David Heo, “Mamihlapinatapai” (2024), mixed media on paper mounted on panel, 11 x 28 inches
“Red Boots” (2025), acrylic on wood, framed in hemlock, 18 x 24 inches
Peter Frederiksen, “Sharing Secrets” (2022), freehand machine embroidery on linen, 6 x 8 inches
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Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings
by Aurelia Butler 7 February 2025, 19:11
Detail of “Happily Ever After” (2024), oil on linen, 70.5 x 57.25 inches. All images courtesy of Harper’s, New York, shared with permisison
Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings
February 7, 2025
Art
Grace Ebert
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During the Dutch Golden Age, vanitas grew in popularity as a genre of memento mori that emphasized life’s transience. The opulent paintings were steeped in symbolism and foregrounded the futility of ambition and worldly pleasures.
Marc Dennis draws on this 17th-century tradition as he refashions the still life for a contemporary audience. In a recent oil painting, “Happily Ever After,” hordes of honeybees and hornets descend on a lush bouquet. Kaleidoscopic bubbles float across the five-foot canvas, reflecting the surrounding colors and distorting clear viewers of nearby flowers and fruit.
“Happily Ever After” (2024), oil on linen, 70.5 x 57.25 inches
The insects and glossy orbs add another layer of impermanence to the already fleeting imagery, while also reflecting on the tenuous relationship between the organic and human-made. Similar tensions appear in “Allegory of the Readymade,” which suffocates and warps a seemingly vibrant painting with thick layers of plastic wrap. Each of the works clings to a brief moment in time, capturing both life at its prime and serving as a bold reminder of its inevitable end.
Dennis’ paintings are on view in I’m Happy You’re Here through March 1 at Harper’s Gallery in New York. Find more from the artist on Instagram.
“Based on a True Story” (2024), oil on linen, 70.75 x 55 inches
Detail of “Based on a True Story” (2024), oil on linen, 70.75 x 55 inches
“Superstar” (2024), oil on linen, 70.5 x 55 inches
“Portrait of the Artist as a Juvenile Delinquent” (2024), oil on linen, 72 x 58 inches
“Allegory of the Readymade” (2024), oil on linen, 48.75 x 37 inches
“Giotto’s Fly” (2024), oil on linen, 72.5 x 96 inches
“Dracula” (2024), oil on linen, 71.5 x 56 in
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Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life
by Aurelia Butler 7 February 2025, 14:57
“American Airlines Passenger Ticket 1 (after Warhol)” (2023), oil on canvas, 32 x 59 inches
Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life
February 7, 2025
ArtClimate
Kate Mothes
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For Jessica Taylor Bellamy, juxtapositions, transparency, and layers shape a way of working that evokes her family history and notions of home and landscape. Born to an Ashkenazi Jewish mother and an Afro-Cuban Jamaican father, Bellamy was raised in Whittier, just southeast of Los Angeles.
In glowing oil paintings, she draws from personal mementos like photographs, sales receipts, and newspaper clippings to explore the relationships between utopia and dystopia, humans and nature, image and text, and fantasy and reality.
“Did She Nail It?” (2025), oil on canvas, 26 x 20 inches
Bellamy portrays sunsets, landscapes, trees, urban streets, flora, animals, and cloud formations in a kind of dreamy washiness, adding patterns like chainlink fences, gates, and lace curtains suggestive of boundaries. Horizontal landscapes overlaid with American Airlines tickets echo Andy Warhol’s 1960s silkscreen prints of SAS airline tickets merged with floral motifs.
“Bellamy’s observations are rooted in her experiences of the sprawling urban landscape of Los Angeles—a meeting of nature and civilization at the edge of a precarious paradise, formed by fire, drought, flood, and wind,” says a statement from Anat Ebgi, which represents the artist and opens her new solo exhibition, Temperature Check.
A few works shown here, like “Did She Nail It?,” appear in the show, which merges landscapes and atmospheric lighting effects with references to DIY culture, what’s gendered as “men’s work,” and car and motorcycle culture. The Home Depot receipt, which typically uses the slogan “Did we nail it?,” is combined with an image of a rear-view mirror depicted so close that it initially appears abstract.
Bellamy examines the dualities and precarity of life in Southern California—a seeming paradise we’ve witnessed can be swiftly devastated by fire and drought. The title Temperature Change is also a double entendre, suggesting meteorological readings and a figurative expression used when measuring a group mood or opinion. Through surreal imagery and echoes of mass production and consumerism, the artist invokes a noir reverie.
Temperature Check runs from February 8 to March 22 in Los Angeles. Find more on the artist’s website and Instagram.
“Box Fan (AM)” (2025), oil on canvas, 57 1/2 x 32 inches
“American Airlines Passenger Ticket 2 (after Warhol)” (2023), oil on canvas, 32 x 60 inches
“Playa Larga (Coquina Combination Pill Pack)” (2023), oil on canvas, 23 3/4 x 42 1/2 inches
“A Subspecies of Journalism” (2023), oil on canvas, 59 x 43 1/2 inches
“A Splendid Paradox” (2022), oil on canvas, 70 x 52 inches
“Curtain of Sky” (2024), oil on canvas, 57 1/2 x 48 inches
“Horizontal Thrust I (Blue graffiti highway)” (2025), oil on canvas, 26 x 70 inches
“Driveway Moment” (2025), oil on canvas, 57 1/2 x 47 inches
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Elemental Shifts and Enigmatic Narratives Anchor Rupy C. Tut’s Mystical Paintings
by Aurelia Butler 3 February 2025, 12:58
“A River of Dreams” (2024), handmade pigments on linen, 62 x 42 1/4 x 2 inches framed. Photos by Phillip Maisel. All images courtesy of the artist and Jessica Silverman, San Francisco
Elemental Shifts and Enigmatic Narratives Anchor Rupy C. Tut’s Mystical Paintings
February 3, 2025
ArtClimateSocial Issues
Kate Mothes
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Verdant scenery inhabited by vibrant wildlife and graceful feminine figures center in the work of Rupy C. Tut, whose paintings (previously) draw upon her Sikh ancestry and experiences emigrating from India as a young girl. “As an environmentalist and Indian-American woman, she never takes place for granted,” says a statement from Jessica Silverman Gallery, which represents the artist.
Tut’s ethereal works tread the boundaries between abstraction, portraiture, pattern, and traditional Indian painting. Her compositions introduce narratives—often captivatingly mysterious—that highlight enigmatic mystical, elemental, and spiritual phenomena.
“Bursting with Clouds” (2024) handmade pigments on linen, 41 1/2 x 61 1/2 x 2 1/4 inches framed
The artist’s subjects typically exist front-and-center, like in “A River of Dreams,” in which a figure sits in a stream and observes a lily while dark clouds move in above. Motifs of darkening skies and dramatic change continue in recent works like “Bursting with Clouds” and “The First Rain.”
Oscillating between idyllic paradises, anxieties around climate disasters, and gender constraints, Tut focuses on female figures, turning the tables on a genre that typically focuses on male achievements. “I question traditional roles and labels while preserving traditional practices,” she says.
Tut was a 2024 recipient of the Joan Mitchel Foundation Fellowship, and her work is on view in the group exhibition About Place at San Francisco’s de Young through the end of November. You can explore more on her website and Instagram.
“A Place Dear to Me” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 1/4 inches framed
“The First Rain” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 1/4 inches framed
“Riding my Thunder” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 inches framed
“Where Dreams Flow” (2024), handmade pigments on linen, 42 1/8 x 82 x 2 inches framed
“Bowing to the Cosmos” (2024), handmade pigments on linen, 61 3/8 x 41 5/8 x 2 inches framed
“Archipelago” (2024), handmade pigments on linen; diptych, 61 1/2 x 83 x 2 1/4 inches overall, framed
“Escaping the Heat” (2024), handmade pigments on hemp paper, 13 3/4 x 18 3/8 x 1 1/2 inches framed
“A Natural Thought” (2025), handmade pigments on linen, 81 1/2 x 41 1/2 x 2 inches framed
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Reflections and Human Connections Resonate in Marina Kappos’ Optical Paintings
by Aurelia Butler 30 January 2025, 15:01
“Sun Study (Midnight)” (2024), acrylic on wood panel, 16 x 16 inches. All images courtesy of the artist, shared with permission
Reflections and Human Connections Resonate in Marina Kappos’ Optical Paintings
January 30, 2025
Art
Kate Mothes
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In physics, quantum entanglement describes how particles being generated, interacting, or in proximity to one another cannot have independent quantum states. Albert Einstein referred to this phenomenon as “spooky action at a distance.” In short, once particles have interacted, they remain connected, even if they are millions of light years apart.
For artist Marina Kappos, entanglement inspires an interest in frequency, resonance, and connection through painting. “In a peculiar way, I can relate to distant particles affecting one another because I have an identical twin sister,” she tells Colossal. “I have grown up with a mirrored reflection of myself, but one that is also independent and leading a different life than me. This unique perspective has created a lifelong bond of interconnectedness between my sister and me.”
“188” (2024), acrylic on canvas, 58 x 58 inches
Kappos describes her paintings, like her life, as a double or a mirror that reflects in myriad ways. She invokes a kind of “buzzing frequency and optical motion” that creates the impression that solid, distinct objects—like our bodies—are fluid or malleable.
“We are inextricably linked to one another and our surroundings,” the artist says. “Where does the body end and the universe begin? Vibration is a clue that it is closely related. These paintings, combined with my own life experience, have highlighted my evolving awareness of the nature of reality.”
Kappos applies acrylic paint in semi-transparent layers of color, which overlap to create a resonating or vibrating visual quality. She is interested in portraying human connections, especially women, often emphasizing profiles or hands because they hint at the body but may not be the first detail one notices when seeing reverberating, optical color effects. Many works have light and dark counterparts, like “Sister 1” and “Sister 2.”
“Like echoes, the repeated motifs almost have a Doppler effect, where there is an increase or decrease in frequency of light depending on where you stand,” Kappos says. “The ethereal, transparent layers of paint eventually become profiles of faces, sometimes melding into landscape, at times appearing out of focus, simply buzzing or humming along.”
“199 (Sister 1)” (2024), acrylic on wood panel, 24 x 24 inches
Many of these works were recently on view in her solo shows Ultraviolet Catastrophe at The Pit in Los Angeles and Spooky Action at Shrine in New York City. She currently has a piece in the group exhibition Soft Focus at The Hole’s Los Angeles location.
The artist is currently engaged in a residency in Paris at Résidence artistique Retina, a program established by a medical center in the heart of the city to improve the experience for hospital patients, visitors, and staff. Find more on Kappos’s website and Instagram.
“199 (Sister 2)” (2024), acrylic on wood panel, 24 x 24 inches
“Sun Study (Aurora)” (2024), acrylic on wood panel, 16 x 16 inches
“Vibrating Woman” (2020), acrylic on canvas, 72 x 120 inches
“179” (2024), acrylic on canvas, 58 x 58 inches
“Ultraviolet Study (Tangle)” (2024), acrylic on wood panel, 16 x 16 inches
“Spooky Action Study (Skull)” (2024), acrylic on wood panel, 16 x 16 inches
“Ultraviolet Study (Night Rider” (2024), acrylic on wood panel, 16 x 16 inches
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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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painting

More stories

Matt Roussel’s Textured Woodcuts Metamorphose into Paintings

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

Announcing Joy Machine, a New Art Gallery in Chicago

Bees and Irridescent Bubbles Infiltrate Still-Life Traditions in Marc Dennis’ Paintings

Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life

Reflections and Human Connections Resonate in Marina Kappos’ Optical Paintings

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

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