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    Michael Velliquette’s Metallic Paper Sculptures Delve into the Nature of Consciousness

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    “Dark Star” (2025), metallic coated cover stock, 24 x 24 x 4 inches. All images courtesy of the artist and Duane Reed Gallery, St. Louis, shared with permission

    Michael Velliquette’s Metallic Paper Sculptures Delve into the Nature of Consciousness

    November 12, 2025

    Art

    Kate Mothes

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    From cut, notched, perforated, and layered pieces of metallic coated paper, Michael Velliquette conceives of alluring geometric motifs. Known for his mandala-like compositions that sometimes rise tower-like from their bases or appear to rotate with multiple circular layers, he continues to explore “the subtle terrain of interiority,” says a statement for his new show.

    The Light That Sees, Velliquette’s solo exhibition of 21 new works at Duane Reed Gallery, delves into themes of consciousness and light, both in the physical sense that light enables us to see but also in the way that illumination is itself a metaphor for awareness—and enlightenment. Through monochromatic reliefs, he highlights perception, material, and the human relationship with nature.

    “I Am the Sky” (2025), metallic coated cover stock, 12 x 12 x 2 inches

    Velliquette often repeats specific shapes, such as eyes, stars, florets, and circles. Numerous other shapes frequently come into play, from hole-punched triangles to myriad tiny discs with scalloped edges. Sometimes, the overall composition reads as a meditation on recurring forms, like a mandala, in which all sides are essentially the same. In others, elements bordering on the cartoonish emerge in the form of flowers with faces or human profiles rotating around a central orb.

    A statement says, “Through acts of repetition and precision—cutting, shaping, and assembling complex layers and shapes—Velliquette’s paper sculptures serve as meditative objects that ask the viewer not just to look, but to see—to meet the work with a quiet awareness that mirrors its making.”

    The Light That Sees continues through December 13 in St. Louis. See more on the artist’s website and Instagram.

    “The Light That Sees” (2023), metallic coated cover stock, 12 x 12 x 2.5 inches

    Detail of “The Light That Sees”

    “The I in Sight” (2025), metallic coated cover paper, 20 x 20 x 3 inches

    “Folded Horizon” (2024), metallic coated cover stock, 18 x 18 x 2.5 inches

    “Shifts in Perspective” (2024), metallic coated cover stock, 30 x 20 x 2 inches

    “The Distance Within Us” (2025), metallic coated cover paper, 22 x 18 x 3 inches

    “Shared Dream” (2025), metallic coated cover paper, 26 x 26 x 2 inches

    “The Space of Being” (2024), metallic coated cover paper, 15 x 12 x 2 inches

    Detail of “Dark Star”

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      In ‘Nesting’ and ‘Wrapped,’ Natalie Ciccoricco Collages Reflections on Nature and Grief

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      Pieces from the ‘Nesting’ series. All images courtesy of Natalie Ciccoricco, shared with permission

      In ‘Nesting’ and ‘Wrapped,’ Natalie Ciccoricco Collages Reflections on Nature and Grief

      November 4, 2025

      ArtCraft

      Kate Mothes

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      Delicate geometries and organic forms combine in the elegant works of Natalie Ciccoricco. Often working with found materials, the artist threads multicolored string through handmade paper. In her ongoing Nesting series, the fiber envelops small twigs that gently interrupt the otherwise meticulous shapes—redolent of the way that trees themselves have the ability to grow around fences and other obstacles in their way.

      Ciccoricco has also recently been working on a series called Wrapped, a poignant exploration of loss and grief. Small panels collaged with colorful imagery are then wrapped tightly with bands of thin yarn.

      The collection emerged as a deeply personal response to the sudden loss of her son, literally encompassing emotions and experiences that art makes it possible to describe. “These are not somber artworks, but rather an expression of radical acceptance and a surrender to both love and grief,” she says in a statement.

      The artist has long been interested in the wide variety of ways that paper and fiber interact, from collaging found photographs with yarn details to hand-making paper in bespoke shapes. Lately, she has been focusing primarily on commissions, including pieces from the Nesting series at a Big Sur, California, hotel called Alila Ventana.

      “Between my own personal grief and the state of the world, I feel my art practice has become an important anchor in my life,” Ciccoricco shares. Her practice—and by extension, her pieces—channel a sense of calm, order, and harmony. “It’s both a tether to something beautiful and familiar, as well as a quiet resistance against all the fear, hate, and violence we are witnessing right now.”

      Find more on Ciccoricco’s website and Instagram.

      Pieces from the ‘Wrapped’ series

      “They Are the Sun and the Moon”

      “Still Silently Watching”

      Details of the ‘Nesting’ series

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      Paper Discs Stand In for Brushstrokes in Jacob Hashimoto’s Structural, Layered Works

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      “It was all possible until it wasn’t” (2025), acrylic, paper, bamboo, wood, and Dacron, 32 x 26 inches. All images courtesy of the artist and Miles McEnery Gallery, shared with permission

      Paper Discs Stand In for Brushstrokes in Jacob Hashimoto’s Structural, Layered Works

      October 28, 2025

      Art

      Kate Mothes

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      Jacob Hashimoto’s pieces aren’t easily classified as either two- or three-dimensional. Instead, his mixed-media works play with the boundary between the two, merging traditional craft practices with painting, printmaking, sculpture, and installation.

      Hashimoto’s pieces range from multilayered wall works to large-scale, site-specific installations made with hundreds—sometimes thousands—of paper-and-bamboo discs inspired by kites. Screen-printed with acrylic, they’re coated in vibrant colors and patterns that almost vibrate when layered with lengths of string, pulled taut between a system of pegs or suspended from the ceiling.

      Detail of “Even if it was all a lie” (2025), acrylic, paper, bamboo, wood, and Dacron, 32 x 26 inches

      The artist’s eponymous solo exhibition, opening this week at Miles McEnery Gallery, highlights his continued interest in “reframing the brushstroke as a modular unit,” says a statement. “Hashimoto splinters painting’s most fundamental conventions (stroke, mark, surface) into discrete, discernibleforms.”

      Each translucent disc is meticulously arranged in a multifaceted composition in which various motifs billow, branch, and blend through several layers. Uniting the individual components into an overall structure, we get the sense that intuition guides the arrangement, yet set parameters—not unlike the edges of a canvas—ultimately determine the placement.

      On the same token, the continuity and pixel-like quality of the discs suggest they are planned well in advance. Hashimoto often uses 3D computer modeling software to lay out the overall works, especially large-scale installations, to achieve a high level of precision.

      The exhibition opens in New York City on October 30 and continues through December 20. Dive into the archive to read some of Hashimoto’s insights in his Colossal interview, and visit the artist’s website and Instagram for more work and updates.

      “I think I’m already forgetting” (2025), acrylic, paper, bamboo, wood, and Dacron, 32 x 26 inches

      “Would it work? Not likely.” (2025), acrylic, paper, bamboo, wood, and Dacron, 32 x 26 inches

      “This exact language” (2025), acrylic, paper, bamboo, wood, and Dacron, 32 x 26 inches

      Detail of “This exact language”

      “Even if it was all a lie” (2025), acrylic, paper, bamboo, wood, and Dacron, 32 x 26 inches

      “The bittersweet fall into actuality” (2025), acrylic, paper, bamboo, wood, and Dacron, 60 x 48 inches

      “There are other places” (2025), acrylic, paper, bamboo, wood, and Dacron, 32 x 26 inches

      Detail of “It was all possible until it wasn’t”

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      Armed with Scraps, Lydia Ricci Builds a World of Messy Miniatures

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      “They Made It Look So Easy” (2024), collected scrap materials, 22 x 26 x 15 centimeters. All images courtesy of Lydia Ricci, shared with permission

      Armed with Scraps, Lydia Ricci Builds a World of Messy Miniatures

      October 12, 2025

      Art

      Grace Ebert

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      For Lydia Ricci, a broken pencil, outdated forms, long-ago paid bills, and tattered bits of fabric are prime materials for her elaborate, small-scale worlds. The artist credits her parents’ obsession with collecting as the beginning of what’s grown into a scrap-centric process.

      “My mother was an immigrant from the Ukraine who could improvise anything when we didn’t have exactly what we needed, which was most of the time. And my Italian father hasn’t ever thrown anything away because one day it might be useful, or some day he might get around to fixing it,” she writes.

      Detail of “It’s What’s Inside” (2025), collected scrap materials, 10 x 38 x 13 centimeters

      Today, Ricci pieces together bits and baubles collected for the past 30 years that many other artists might relegate to the trash. Cardboard, candy wrappers, vintage tumblers, and so much more form uncanny miniatures that she refers to as “observations of what people anticipate, complain about, or muse over. Fleeting, unscripted exchanges—mundane yet deeply human—are a continual source of inspiration.”

      Meticulous and playful, the resulting sculptures retain a messy, raw quality that is itself a collection of the original materials. Rather than mask irregularities and signs of wear, Ricci leaves traces of chaos and disorder that capture an authentic quality of modern life.

      Find much more from the artist on Instagram.

      “It’s What’s Inside” (2025), collected scrap materials, 10 x 38 x 13 centimeters

      “That’s Everything” (2024), collected scrap materials, 30 x 35 x 16 centimeters

      “They Were Just Playing” (2024), vintage red Pizza Hut tumblers and collected scrap materials, 90 x 40 x 40 centimeters

      Detail of “They Were Just Playing” (2024), vintage red Pizza Hut tumblers and collected scrap materials, 90 x 40 x 40 centimeters

      Detail of “They Made It Look So Easy” (2024), collected scrap materials, 22 x 26 x 15 centimeters

      “We Should Have Taken Better Care of It” (2023), collected scrap materials, 8  x 8 x 10 centimeters

      “How Did You Get So Good?” (2024), Ukrainian embroidery and collected scrap materials, 8 x 8 x 21 centimeters

      “Take a Turn” (2025), collected scrap materials, 80 x 46 x 5 centimeters

      Detail of “Take a Turn” (2025), collected scrap materials, 80 x 46 x 5 centimeters

      “I Think We Got Disconnected” (2025), collected scrap materials, 22 x 32 x 20 centimeters

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

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      in Art

      Vernacular Architecture and Mossy Trees Fill Michael Davydov’s Tiny Worlds

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      All images courtesy of Michael Davydov, shared with permission

      Vernacular Architecture and Mossy Trees Fill Michael Davydov’s Tiny Worlds

      September 24, 2025

      ArtCraft

      Kate Mothes

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      In the miniature world of Michael Davydov, tiny houses, moons, trees, and barns balance precariously in clusters and stacks. Observing the architecture and flora around his home in the Nizhny Novgorod region of Russia, he taught himself how to draw and eventually began assembling small sculptures.

      The hobby quickly morphed into a passion for creating miniature realms in which diminutive structures jumble, float, and balance on one another, sometimes complemented by moss and slender coniferous trees. Inspired by the vernacular of northern climes, his houses resemble the small, stilted structures one might encounter in coastal villages in Greenland, for example, or the traditional timber dwellings of Russian farmsteads.

      Davydov often encases his scenes in glass, using domes or vials that lend the impression of delicate specimens being collected and preserved. Like folkloric fairy houses nestled in the woods, one can almost imagine wandering through a mossy forest and stumbling upon one of these tiny, enigmatic settlements.

      Explore more on the artist’s website.

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      in Art

      ‘Companions’ Celebrates Our Animal Friends and Colleagues

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      Misato Sano, “なるほど！ /  Oh, I see!” (2025), camphor wood and oil paint

      ‘Companions’ Celebrates Our Animal Friends and Colleagues

      September 22, 2025

      ArtPartner

      Joy Machine

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      “Play between humans and pets, as well as simply spending time peaceably hanging out together, brings joy to all the participants. Surely that is one important meaning of companion species.” –Donna Haraway, ‘Companion Species Manifesto‘

      Companions is a group exhibition celebrating our closest animal friends and colleagues. Featuring works across media by Lola Dupre, Debra Broz, Roberto Benavidez, Misato Sano, William Mophos, and Nicolas V. Sanchez, this show revels in the ways we share our lives with non-human species.

      Debra Broz, “Horse Boxer” and “Boxer Horse” (2025), secondhand ceramic figurines and mixed media

      Each artist translates their furry and feathered subjects in a distinctively human way: Dupre and Broz distort any realistic likeness in favor of surreal, exaggerated amalgamations, while Benavidez translates a small kitten into the celebratory form of a piñata. Sano similarly gouges small pieces of camphor wood to carve a range of expressive pups, which she then paints in oils.

      Although their renderings take a more realistic approach, Sanchez and Mophos utilize substrates embedded within human life, the former gravitating toward the blank pages of a sketchbook and the latter scouring the streets of São Paulo for architectural remnants that become small jagged canvases.

      In this way, these artists present companionship as a bridge between nature and culture. They see their companions as being both of their own making–in that any relationship is influenced and created by both parties– and as independent beings with big personalities all their own.

      Companions opens on September 27, 2025. RSVP to our opening reception from 6 to 8 p.m. on Saturday.

      Roberto Benavidez, “Medieval Kitten” (2025), paper, paperboard, wire, glue, crepe paper, fallen cat whiskers, 5.5 x 6 x 3 inches

      Lola Dupre, “Geordi” (2025), paper collage, 12 x 16 inches

      William Mophos, “Tom Tom” (2025), acrylic painting on wall fragments in an acrylic frame with cement board backing, 16.6 x 21 x 7.5 centimeters

      Nicolas V. Sanchez, “Mariana with lambs” (2018), color ballpoint pen on paper, 5.5 x 10.5 inches

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      Uncanny Papier-Mâché Creatures by Roberto Benavidez Mingle in ‘Bosch Beasts’

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      “Illuminated Piñata No. 19” (2021), paper, paperboard, glue, wire, and crepe paper, 33 x 20 x 12 inches. Photos by Paul Salveson. All images courtesy of the artist and Perrotin, shared with permission

      Uncanny Papier-Mâché Creatures by Roberto Benavidez Mingle in ‘Bosch Beasts’

      September 15, 2025

      ArtHistory

      Kate Mothes

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      Most often associated with Mexico, the piñata’s origins may actually trace back to China. By the 14th century, the celebratory tradition of breaking open a container filled with treats had arrived in Europe. Then, Spanish colonists and missionaries imported the custom to Mexico during the 16th century, although a similar practice was already in use within Indigenous Mayan and Aztec communities in observation of special events. Today, piñatas are an integral element of cartonería, the Mexican craft of papier-mâché.

      For Los Angeles-based artist Roberto Benavidez, the art of the piñata is a central tenet of a practice exploring intersecting themes of race, sexuality, humor, sin, and beauty. He draws upon the paper art form’s early religious significance in Mexico, when Spanish missionaries used a seven-pointed version as a tool for converting Indigenous people to Christianity. This motif, which appears in some of Benavidez’s distinctive sculptures, nods to its past colonial use.

      “Bosch Bird No. 11” (2022), paper, paperboard, glue, wire, and crepe paper, 24 x 60 x 18 inches

      “The points of the star represented the seven deadly sins, the blindfold worn by the bat-wielding assailant represented faith, and the treats found inside were the rewards for blind and unwavering belief,” Diva Zumaya says in an exhibition essay for the artist’s current solo exhibition, Bosch Beasts, at Perrotin.

      Benavidez continues to make piñata-like sculptures that resemble uncanny, hybrid creatures, often inspired by the marginalia of illuminated manuscripts and the surreal characters in Hieronymus Bosch’s “The Garden of Earthly Delights,” which the Netherlandish artist painted between 1490 and 1510.

      Bosch Beasts highlights Benavidez’s ongoing fascination with the rare and extraordinary, exhibiting new works alongside pieces he’s made throughout the past decade. Installed on the floor or suspended from the ceiling, his creatures appear independently occupied and immersed in an esoteric group activity.

      Each piece comes to life through papier-mâché, using a balloon to create the central form before adding more structure with Bristol board and additional layers of glue-slathered paper. Wire supports more delicate limbs and appendages, and to achieve the final texture, Benavidez cuts and attaches every tiny feather or scale.

      “Bosch Beast No. 14” (2025), paper, paperboard, glue, wire, and crepe paper, 33 × 19 × 14 inches

      “Drawing from his personal experience as a queer and mixed-race MexicanAmerican, Benavidez starts from a foundation of hybridity in which these monsters are the perfect actors,” Zumaya says, continuing:

      Every mixed-race person who has become well acquainted with the question, “What are you?” is all too familiar with how it feels to live at the borders of identities, appearances complicating the compulsion to categorize. The way Benavidez uses these hybrid bodies to conjure ideas around race echoes their meaning in sixteenth-century Europe, where notions of the monstrous were profoundly intertwined with early formations of race.

      Bosch Beasts continues through October 18 in Los Angeles. See more on the artist’s website and Instagram.

      Installation view of ‘Bosch Beasts’

      “Bosch Beast No. 16” (2025), paper, paperboard, glue, wire, crepe paper, 23 × 23 × 19 inches

      “Bosch Beast No. 10” (2020), paper, paperboard, glue, wire, and crepe paper, 3 1/2 x 26 1/2 x 7 inches

      Installation view of ‘Bosch Beasts’

      “Bosch Bird No. 12” (2025), paper, paperboard, glue, wire, and crepe paper, 71 x 11 x 11 inches

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      Junk Mail and Found Papers Undulate in Agate-Like Wall Sculptures by Jessica Drenk

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      Detail of “Slice 3” (2025), junk mail and plaster, 54 x 79 inches. All images courtesy of the artist and Galleri Urbane, shared with permission

      Junk Mail and Found Papers Undulate in Agate-Like Wall Sculptures by Jessica Drenk

      August 20, 2025

      Art

      Kate Mothes

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      If you’ve ever studied the rainbow-like mineral rings of petrified wood or observed light filter through the striations of a slice of agate, you’ll understand Jessica Drenk’s fascination with geology. The New York-based artist upcycles objects like junk mail and pencils to create elaborately layered, sculptural pieces evoking banded crystals and colorful sedimentary stone.

      Drenk’s forthcoming solo exhibition, Elemental Form at Galleri Urbane, continues to plumb the relationship between ephemerality and eternity. The gallery says, “Building in layers, Drenk renders erosion, sedimentation, and crystallization human-made.”

      “Agate 3” (2025, junk mail and used paper, 57 x 79 inches

      Many of Drenk’s wall pieces are made solely of paper, while some new pieces, like the Slice series, incorporate plaster. Redolent of the way marble is sliced from quarries in neat slabs, “Aggregate Triptych” or “Flow” look as though they have been hewn directly from some much more expansive deposit. Panning out, we might see streams and oxbows amid a vast natural landscape.

      Drenk emphasizes flow in the sense that earth, water, and our perception of time can be fluid, as can be the nature of art-making itself. Creatives often strive for moments in which they experience being in “a state of flow.” From the perspective of both making the work and the way it is viewed, the artist describes this guiding ethos as “an aqueous sensibility.”

      Elemental Form runs from September 6 through November 8 in Dallas. Find more on the artist’s website and Instagram.

      “Aggregate Triptych 4” (2025), junk mail and used paper, 42 x 88 inches

      “Agate 2” (2025), junk mail and used paper, 66 x 44 inches

      Detail of “Agate 2”

      “Slice 2” (2025), junk mail and plaster, 66 x 64 inches

      “Aggregate Strata 3” (2025), junk mail and used paper, 75.5 x 81.5 inches

      “Agate 1” (2025), junk mail and used paper, 50 x 78 inches

      Detail of “Slice 2”

      “Slice 3” (2025), junk mail and plaster, 54 x 79 inches

      “Flow 1” (2025), junk mail and used paper, 74 x 56 inches

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    • 163 Shares109 Views

      in Art

      Vibrant Paper Collages by Lawrence Meju Explore Daily Life and the Human Psyche

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      “It Takes Two to Tango” (2025), paper on Brazilian hardboard, 122 x 91 centimeters. All images courtesy of Lawrence Meju, shared with permission

      Vibrant Paper Collages by Lawrence Meju Explore Daily Life and the Human Psyche

      August 13, 2025

      Art

      Kate Mothes

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      “I often approach my work as a form of quiet world-building, and in many ways, I think of it as a visual journal,” says Lawrence Meju, whose distinctive and vibrant collages draw on surrealism, everyday experiences, and memories.

      The Lagos-based artist remembers working with paper collage during some of his earliest introductions to art-making in school, but it wasn’t until 2020, at the height of the pandemic when access to shops and materials was limited, that a little resourcefulness transformed into a new way of working.

      “Surreal Situation for Two I” (2023), paper, 60 x 50 centimeters

      “I found these interesting, textured papers somewhat abandoned,” Meju tells Colossal. Not necessarily a material he would have chosen off the bat, he was nevertheless motivated to make something—anything—during that time. And the challenge paid off. “I made a quick portrait of myself that leaned towards abstraction, and this was what started my body of work titled Extranormal Portraits.” More recently, his compositions have become increasingly complex and fluid, with numerous figures and symbolic items like clocks, cut flowers, and plants.

      Meju’s pieces boldly explore links between daily life, the human psyche, relationships, and perception. “I am currently engaging with themes of fragmentation, reinvention, and identity,” he says. “This engagement is also an ode to my process of creating these collages.” By simplifying the human form and other objects into layered, textured, colorful shapes, he delves into the myriad ways memories, histories, identities, and emotions overlap and inform who we are.

      “A guiding force in my work is my commitment to keeping my inner child alive, as well as the drive to create what I want to see in the world,” Meju says. “At first, carving a path outside the mainstream was uncomfortable, but leaning into that discomfort has allowed me to develop a mode of expression that feels authentic to me.”

      Meju is currently planning some sculptural works and objects that riff on the visual language of his two-dimensional pieces. If you’re in London in October, find the artist’s work at 1-54 art fair, presented by Soto Gallery, and see more on his Instagram.

      “Merry Men I” (2025), paper on Brazilian hardboard, 90 x 60 centimeters. Photo by Samuel Adedotun, Adeyemi-Adejolu

      “Self-Portrait Morning Glory” (2023), paper, 60 x 50 centimeters

      “In Full Bloom” (2024), paper on Brazilian hardboard, 122 x 91 centimeters

      “She Measures the Hours in Petals” (2025), paper on modeling board, 90 x 60 centimeters

      “Army for Two” (202), paper on Brazilian hardboard, 122 x 91 centimeters

      “What Is Left to Do” (2022), paper, 60 x 50 centimeters

      “Before the Sun Sinks Low” (2022), paper, 60 x 50 centimeters

      “Hands at Play” (2025), Giclee archival fine art paper print, 55.3 x 38.1 centimeters

      “Light Your Path” (2024), paper on paper, 60 x 50 centimeters

      “The Garden That Is Your Mind” (2025), paper on modeling board, 90 x 60 centimeters

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