paper

Subterms

    Latest story

    163 Shares117 Views

    In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books

    by

    “Decoy Boy.” All images © Michael Ezzell, shared with permission

    In ‘The Junior Classic,’ Michael Ezzell Builds an Uncanny World from Vintage Books

    May 27, 2025

    ArtIllustration

    Kate Mothes

    Share

    Pin

    Email

    Bookmark

    It’s not too often that a high school art project morphs into a through-line in an artist’s professional practice, but for illustrator and printmaker Michael Ezzell, that’s exactly how his ongoing series The Junior Classic was born. Tearing pages from vintage books, he experiments with a range of media, compositional elements, and narratives that then inspire further paintings and prints.

    “When I was starting out, I would just paint over the text of the page and create something brand new from some mundane book I had,” Ezzell tells Colossal. “Eventually, it evolved into using the page’s illustration or ornate chapter headings as a jumping-off point for what I would create on the page.”

    “Cloudmaker”

    Among many others, Ezzell especially graviates toward illustrations in the Alice in Wonderland series, originally drawn by Sir John Tenniel and reimagined during subsequent decades by more than half a dozen other artists like Mabel Lucie Attwell, Gwynedd M. Hudson, Maria L. Kirk, and even Salvador Dalí.

    “I’ve gotten my book-hunting more down to a science now,” the artist says. “I look for weird and obscure manuals or children’s books with lots of pictures or funky text formatting. Anything that could have strange connotations when taken out of context is what I’m drawn to.” He approaches each page’s inherent qualities—a printed phrase or a small drawing—like a prompt or a call-and-response, which taps into a refreshingly different kind of problem-solving than working on a large, blank canvas.

    Ezzell is particularly interested in world-building and immersive stories, and his motifs and characters take cues from tarot, Surrealism, playing cards, and early-20th-century fashion. The title of the series nods to a set of 10 books titled The Junior Classics, first published in 1912, which were intended for young readers as a counterpart to the Harvard Classics series.

    The Junior Classic consists of more than 400 pieces (and growing), and Ezzell is currently working on his own tarot deck, which in turn is inspiring more narrative possibilities. See more on the artist’s website and Instagram.

    “Two Rivers”

    “Now Here”

    “Three Phases of Mitsy Diller”

    “Mind Over Matter”

    “Love Makes the World Go Down”

    “The Escapist”

    “The Great Cassino”

    “The Duchess”

    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

    More stories

    • 138 Shares188 Views

      in Art

      Recycled Materials Draw Attention to Ocean Plastics in Ana Brecevic’s Assemblages

      by

      All images courtesy of Ana Brecevic, shared with permission

      Recycled Materials Draw Attention to Ocean Plastics in Ana Brecevic’s Assemblages

      May 14, 2025

      ArtClimateNature

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      As the climate crisis worsens around the globe, its effects are no more apparent than in our oceans and the communities that rely on them. Delicate coral reefs, for example, face stresses from not only rising sea temperatures but the residue of human presence—plastics, castoff fishing equipment, and other waste.

      Warm water is typically the culprit in coral bleaching events, characterized by algae leaving the organisms and turning them a ghostly white. The algae provides a food source and helps to protect the coral from disease, but when it goes, the host is left much more vulnerable. For Ana Brecevic (previously), this phenomenon inspires work that draws attention to this urgent issue.

      Her recent series, Plasticum, reflects on the ever-growing problem of plastic pollution in the earth’s oceans while contrasting the beauty of marine ecosystems with their vulnerability to human impact. The artist meticulously cuts silhouettes of bleached corals and gorgonians—also known as sea fans—and ornaments them with baubles reminiscent of debris.

      “I live along the Atlantic coast, where I collect marine waste that inspires and feeds into this body of work,” Brecevic says. “Everything is made from recycled paper, upcycled fabrics, and natural dyes.”

      The artist describes Plasticum as “a quiet echo of a reality slowly settling in,” where microplastics and waste continually threaten underwater habitats and biodiversity. She says, “Through this work, I hope to spark questions about our connection to living ecosystems and what we choose to see—or overlook.”

      Find more on Brecevic’s website and Instagram.

      Photo by Marion Saupin

      Photo by Marion Saupin

      Photo by Marion Saupin

      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

    • 113 Shares129 Views

      in Art

      Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages

      by

      “Torn Spin” (2025). All images courtesy of the artist and Hashimoto Contemporary, shared with permission

      Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages

      May 12, 2025

      ArtNature

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      Smeared, flattened, and rough around the edges, Gregory Euclide’s mixed-media collages explore nature through the lens of human experience. Organically meandering outlines suggest shallow reliefs; foraged prairie botanicals complement human-made materials; and abstracted landscapes emerge from drawings, photographs, ripped paper, paint, and more.

      “The artist tears and layers these elements to build a new pictorial space which more accurately resembles the way he takes in the land,” says a gallery statement for Assembled Lands, Euclide’s solo exhibition opening later this week with Hashimoto Contemporary.

      “Torn: Double Sun” (2025)

      Breaking down his observations of nature into its fundamental parts, Euclide merges overviews of trees, shrubs, meadows, and the horizon with the intimate details of leaves or branches. One might approach his subject matter through the lens of the Anthropocene, which describes our present era of accelerating changes to the environment due to humans’ unrelenting impact.

      Each collage (previously) merges recognizable forms and terrain with abstract shapes and compositional spirals or whorls. The effect toys with perception and our understanding of relationships between flatness and depth, land and sky, and nature and ourselves.

      Assembled Lands runs from May 17 to June 14 in New York City. See more on the artist’s website.

      “Washed Up On The Beach 2” (2025)

      “Plat Map” (2025)

      “Torn: Silhouette” (2025)

      “Random Invader Memory” (2025)

      “Torn Landscape Spun” (2025)

      “Torn: Forest Silhouette” (2025)

      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

    • 125 Shares99 Views

      in Art

      Here’s What We’re Excited to See at EXPO CHICAGO 2025

      by

      Wangari Mathenge, “Re-Membering (Folded In Time)” (2025), oil on canvas, 57.99 x 82.01 inches

      Here’s What We’re Excited to See at EXPO CHICAGO 2025

      April 21, 2025

      ArtColossalPartner

      Grace Ebert

      Share

      Pin

      Email

      Bookmark

      This week marks the beginning of Chicago’s art world Olympics as the largest fair returns to Navy Pier. From April 24 to 27, EXPO CHICAGO will host hundreds of galleries, site-specific projects, talks, and multi-disciplinary programming both downtown and across the city.

      To help you navigate, we’re sharing the artworks we’re most looking forward to seeing. And, if you haven’t gotten your tickets yet, use the code COLOSSAL25 for $5 off.

      1. Wangari Mathenge with Pippy Houldsworth Gallery (London)

      The Chicago-based, Kenyan artist will present a collection of vivid new paintings that speak to the immense amount of information generated through her intensive research process. Surrounded by books, plants, and brightly patterned East African Kanga fabrics, Mathenge’s figures lounge among objects that transcend colonial narratives.

      Ilhwa Kim, “Calculative Flight” (2024), hand-dyed hanji paper, 132 x 164 x 13 centimeters

      2. Ilhwa Kim, Gordon Cheung, and Zheng Lu with HOFA (London)

      We’ve long been enamored by Kim’s roving, rolled-paper compositions that delineate dense pathways through broader expanses. Her dynamic works will be on view alongside Cheung’s decadent paintings and Lu’s stainless steel splashes.

      Florence Solis, “Makahiya VI” (2025), acrylic on canvas, 48 x 36 inches

      3. Florence Solis with The Mission Projects (Chicago)

      Beginning with digital collage before moving to acrylic and canvas, Solis renders ethereal portraits of women infused with Filipino folklore. Delicate leaves and flowers entwine with coiled hair, while veils shroud the figures in luminous coverings, binding each with a protective, yet restrictive layer.

      Suntai Yoo, “The Words” (2024), acrylic on canvas, 91 x 117 centimeters

      4. Suntai Yoo with Galerie Gaia (Seoul)

      Fragmented, surrealist landscapes figure prominently in Yoo’s paintings, which frequently pair common objects like books, bicycles, and apples with Korean letters. The artist is particularly interested in metaphor and how distinct items interact to create meaning.

      Desmond Beach, “The Guardian of the Small & Sacred” (2025), digital painting, woven Jacquard loom, hand and machine sewn pieceworked fabric, 47″x 47 inches

      5. Desmond Beach with Richard Beavers Gallery (Brooklyn)

      Mixing digital painting with patchwork quilts, Beach creates bold, forward-looking portraits. The Baltimore-born artist invokes the ways that trauma can be harnessed for resistance and collective solidarity.

      Jimmy Beauquesne, “Phase 3. Knight of infinite resignation” (2023-2024), colored pencils on paper, hand-cut metallic frame, 62 x 41 x 2 centimeters

      6. Jimmy Beauquesne with Fragment (New York)

      Nested inside hand-cut metallic frames, Beauquesne’s colored-pencil works imagine a dreamy, apocalyptic world that drips with fantastic details. The nine pieces form a narrative of humanity’s transformation sparked by phantasmagorical change.

      Next article More

    • 125 Shares189 Views

      in Art

      Delicate Ecosystems Converge in Sonja Peterson’s Intricate Cut Paper Compositions

      by

      Detail of “Empire Builder.” All images courtesy of Sonja Peterson, shared with permission

      Delicate Ecosystems Converge in Sonja Peterson’s Intricate Cut Paper Compositions

      March 25, 2025

      ArtClimate

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      Inspired by nature’s myriad forms and relationships, Minneapolis-based artist Sonja Peterson creates sprawling scenes from intricately cut paper. Working intuitively while focusing on the environment and our place within it, she merges organic motifs and animals with humans and historical references.

      The inherent simplicity of a blank piece of paper is a compelling attribute for Peterson, who is fascinated by the possibilities of texture, pattern, and the relationship between positive and negative space. Originally, the artist made drawings on large sheets, which she began to cut into in order to rearrange compositional elements. She became increasingly interested in the art of the incision and removed other media altogether.

      “Lost and Searching”

      “My choice of paper echoes the idea of the fragility that I want to convey as I look at the precariousness of ecological systems,” Peterson tells Colossal. “The works’ structural integrity is, at times, reliant on its interconnectivity; if elements disconnect, the entire system is in threat of collapsing.”

      An overarching theme in Peterson’s work revolves around interconnection—both natural and human-made—highlighting how our global trade systems, manufacturing, and agriculture are fundamentally reliant on our environment, even as they contribute to an ever-growing climate crisis. She often combines human interactions with botanical details, like a sunken ship in “Lost and Searching” or the salient history of European colonialist expansion in “Empire Builder.”

      The artist is interested in our “global systems as something of untamed wonder, a gaze that was once reserved for the natural world,” she says. She often juxtaposes botanical details with human-made structures, such as ships or buildings. “Nature is now often seen as contained patchwork or a constructed binary to a technological world that is now the wild frontier.”

      Peterson’s work is currently on view in Nordic Echoes — Tradition in Contemporary Art at Scandinavia House, which runs from April 5 to August 2 in New York City. The show celebrates contemporary folk arts from the Upper Midwest, featuring more than 50 works by 24 artists. Find more on the Peterson’s website and Instagram.

      “The Undergound Plot of the Royal Pommes Frites,” cut paper and acrylic on wallpaper, approximately 72 x 50 inches

      Detail of “The Undergound Plot of the Royal Pommes Frites”

      Detail of “Lost and Searching,” cut paper and acrylic on wall, 114 x 50 inches

      “Empire Builder” (2022), hand-cut paper and acrylic on wall, 106 x 64 inches

      “Ghost Ship Part 1” (2022), cut paper, 112 x 50 inches. All images courtesy of Sonja Peterson, shared with permission

      “Inferno Seeks Shelter.” Photo by E. G. Schempf

      “Layered Losses,” hand-cut paper, 50 x 58 inches

      Detail of “Lost and Searching”

      Installing “Navigator,” cut paper. Photo by Jennifer Phelps

      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

    • 163 Shares139 Views

      in Art

      Folk Traditions, Quotidian Items, and Spiritual Symbolism Merge in Haegue Yang’s Sensory Sculptures

      by

      “Sonic Intermediates – Triad Walker Trinity” (2020), powder-coated steel and handles, casters, nickel and brass-plated bells, metal rings, plastic twine, turbine vents, artificial plants, pine cones, and foam. Photo by Nick Ash. Image courtesy of kurimanzutto, Mexico City / New York. All images courtesy of the artist, shared with permission

      Folk Traditions, Quotidian Items, and Spiritual Symbolism Merge in Haegue Yang’s Sensory Sculptures

      March 6, 2025

      Art

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      “Abstraction is not a…simplified way of thinking: it’s a leap—a leap into a dimension that cannot otherwise be understood,” says Haegue Yang, whose multimedia installations and sculptures explore a wide array of material associations, immersing the senses. Series such as Light Sculptures and Sonic Sculptures defy genres, often combining ready-made, mass-produced items with industrially created substances.

      At the Nasher Sculpture Center in Dallas, Yang’s solo exhibition Lost Lands and Sunken Fields engages viewers in a “dialectic of contrasts: light and dark, aerial and grounded, buoyant and heavy, spare and dense, interior and exterior,” a statement says. The show follows the artist’s first major survey in the U.K. at London’s Hayward Gallery, which embarked on a collage-forward celebration of work created during the past 20 years.

      “Frosted Scales Mermaid Queen – Mesmerizing Mesh #218” (2023), Hanji, washi, and origami paper on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

      Working between Seoul and Berlin, Yang hybridizes folk customs and craftsmanship, everyday items, and vernacular techniques in pieces that combine sculpture, installation, collage, text, video, wallpaper, and sound. “Sonic Intermediates – Triad Walker Trinity,” for example, coats steel frames in tiny bells, metal rings, plastic twine, and more, which evoke vaguely animalistic forms that move around on casters.

      Time and geography collapse in an abstracted visual language that merges the modern and the pre-modern, art history and literature, and themes of displacement, migration, forced exile, and global diasporas. Her works “link various geopolitical contexts and histories in an attempt to understand and comment on our own time,” says a statement from kurimanzutto, which represents the artist.

      The gallery also presents a concurrent exhibition titled Arcane Abstractions, including two-dimensional collage works complemented by an archival display of pieces by Mexican artisans. Yang continues to investigate cultural heritage and ritualistic symbolism through materials as she forwards “a proposal to live our lives today with a holistic view of mobility and technology, respect for spirituality, as well as contemplation on the resilient adaptability of both nature and humans,” says a statement. 

      Arcane Abstractions continues through April 5 in Mexico City, and Lost Lands and Sunken Fields runs through April 27 in Dallas.

      “Airborne Paper Creatures – Flutterers” (2025), birch plywood, wood stain, stainless steel components, Hanji, washi, origami paper, marbled paper, honeycomb paper balls, beads, metal bells, plastic crown flowers, parandy, Punjabi earrings and ornaments, stainless steel chains, split rings, steel wire ropes, and swivels, 47 3/4 x 22 x 25 1/2 inches, 21 3/4 x 12 1/2 x 9 1/2 inches, and 36 1/2 x 23 1/2 x 23 1/2 inches (three parts). Photo by Studio Haegue Yang. Image courtesy of the Nasher Sculpture Center

      Detail of “Airborne Paper Creatures – Flutterers.” Image courtesy of the Nasher Sculpture Center

      Installation view of ‘Haegue Yang: Leap Year’ (2024). Photo by Mark Blower. Image courtesy of the artist and the Hayward Gallery, London

      Installation view of ‘Haegue Yang: Leap Year’ (2024). Photo by Mark Blower. Image courtesy of the artist and the Hayward Gallery, London

      “Aztec Underwater Wanderer – Mesmerizing Mesh #214” (2023), Hanji and washi on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

      “Radial Tousled Epiphyte” (2025), birch plywood, wood stain, acrylic board, powder-coated stainless steel wall mount, stainless steel components, Hanji, and marbled paper, 54 3/4 x 54 3/4 x 8 1/4 inches. Photo by Studio Haegue Yang. Image courtesy of the Nasher Sculpture Center

      Detail of “Radial Tousled Epiphyte.” Image courtesy of the Nasher Sculpture Center

      “Sonic Clotheshorse–Dressage #3” (2019), powder-coated aluminum frame, mesh and handles, casters, brass-and nickel- plated bells, split rings, 60 1/4 x 22 x 30 3/4 inches, and “Sonic Clotheshorse–Dressage #4” (2019), powder-coated aluminum frame, mesh and handles, casters, brass-and nickel-plated bells, and split rings, 50 1/4 x 19 1/4 x 33 3/4 inches. Installation view of ‘Haegue Yang: Emergence’ at the Art Gallery of Ontario, Toronto, Canada, 2020. Photo by Craig Boyko, AGO

      “Aqua-Respirating Soul Sheet – Mesmerizing Mesh #263” (2024), Hanji, washi, and origami paper on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

      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

    • 138 Shares189 Views

      in Art

      Reconnecting with the Earth, Cyrah Dardas Collages Paintings with Handmade Pigments

      by

      Images courtesy of Cyrah Dardas, Shana Merola, Na Forrest Lim, Library Street Collective, and CCS gallery, shared with permission

      Reconnecting with the Earth, Cyrah Dardas Collages Paintings with Handmade Pigments

      February 24, 2025

      ArtNature

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      From oxidized metals, foraged plants, and botanical inks and dyes, Cyrah Dardas derives colors and textures from materials found in the earth. Based in Detroit, the artist reflects the juxtapositions of her surrounding landscape in paintings on cotton paper, merging human-made and organic materials in works redolent of Persian tapestries.

      In abstract compositions evocative of Georgia O’Keeffe’s sensual flower forms or the symbol-rich paintings of Hilma af Klint vis-à-vis the spiritualist movement, Dardas collages paper painted with handmade watercolors and quilts textiles with hand-dyed fabrics.

      “For the last few years, I have been thinking a lot about belonging and seeking to understand it through a more loving relationship to place,” she tells Colossal. “All of my work as an artist flows from this seeking.”

      Dardas employs the language of abstraction to explore the human psyche and the “patterns, behaviors, forms, colors, and movements I see in the living world,” she says. Recently, she’s been considering the impact of humans seeing ourselves as increasingly separate from both nature and one another, simultaneously fascinated and grieved by the fallacy of individualism—the confusion between the freedom to make good decisions and the perceived right to do whatever we want with no empathy or regard for how it will affect others.

      “In my practice, I ask myself, could I possibly foster some level of reciprocity with any—or all—of the many elements and beings that have brought me here and taken care of me?” Dardas says. “In order to do that, I know I need to at least find a way to connect to them differently than the models that modernity offers us. Art is my portal for that, a different type of connection.”

      Dardas invokes ancient, ancestral ways of being in the world by consciously connecting to her natural surroundings. She honors ecosystems and relationships that are naturally cooperative, nourishing, and sustaining, drawing contrasts between processes she views as extractive, like capitalism, patriarchal attitudes, or over-reliance on technology. She uses locally available materials and relies on analog techniques to prepare and process them.

      Describing herself as a “queer, eco-romantic artist and care worker,” Dardas examines the nuances of interdependency, growth, and life cycles. Much of her recent work is a reflection of her own pregnancy as she is currently in the “fleeting baby phase” of new parenthood. She says:

      I got curious about other beings that swell and gorge to create life—all the plant bodies of water holding seeds, feeding and nurturing them. I wanted to mirror them, thinking of myself as a gourd, a seed pod, a fruit. Like the many facets and expressions of queerness, I felt the experience of pregnancy was vast and delightfully undefinable, and I wanted to translate that feeling or mirroring into something visual.

      Dardas’s work is on view in the group exhibition Warp and Weft: Technologies within Textiles, presented by Library Street Collective at The Shepherd in Detroit, which continues through May 3. Find more on her 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

      Next article More

    • 125 Shares199 Views

      in Art

      From Tiny Strips of Cardboard, Greg Olijnyk Fashions Fantastical Monuments

      by

      All images courtesy of Greg Olijnyk, shared with permission

      From Tiny Strips of Cardboard, Greg Olijnyk Fashions Fantastical Monuments

      February 21, 2025

      Art

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      Greg Olijnyk is no stranger to the possibilities of a single, seemingly simple material. In his ever-evolving world of robots, machines, insects, and buildings, cardboard proves endlessly versatile. He meticulously cuts, folds, and glues tiny pieces to resemble everything from rivets and windows to columns and balustrades.

      The Melbourne-based artist’s most recent works play with unexpected juxtapositions, like a classical cathedral dome with the base of a missile, a gothic tower fitted with jet propulsion boosters, and a lighthouse on a ship being guided through a craggy canal. Find more 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

    • 138 Shares199 Views

      in Art

      Intimacy Centers in Nia Winslow’s Nostalgic Paper Collages Highlighting Black Experiences

      by

      “Child’s Olay” (2023), paper collage, 32 x 40 inches. All images courtesy of the artist and SHEER, shared with permission

      Intimacy Centers in Nia Winslow’s Nostalgic Paper Collages Highlighting Black Experiences

      February 11, 2025

      Art

      Kate Mothes

      Share

      Pin

      Email

      Bookmark

      From torn pieces of paper, Nia Winslow constructs vibrant scenes that evoke togetherness and nostalgia, often harkening back to the mid-20th century. The Brooklyn-based artist taught herself to create mixed-media collages using paper adhered to wood panels, which draw on narratives, moods, and memories.

      Winslow predominantly focuses on the African diaspora, tracing stories of the lives of Black individuals in America. Through collages made with a variety of textures, cuttings, and clippings, she illuminates young people playing outdoors, sitting with their parents, and spending time with one another.

      “Steady” (2025), paper collage on birchwood panel, 40 x 30 inches

      The artist enjoys combining her passion for style with storytelling. She draws inspiration from artists like Romare Bearden, Kerry James Marshall, Faith Ringgold, and Jacob Lawrence, often portraying Black figures during everyday activities and in informal, leisurely settings.

      “Mundane or complex, each piece is created to capture the essence of life through the lens of someone who experiences it,” she says in a statement. Cars, urban architecture, garments, and hairstyles emerge in vivid, intimate portraits of community, support, and self-love.

      Winslow’s work “Steady” will be on view at Affordable Art Fair from March 19 to 23 in New York City, presented by SHEER. Find more on the artist’s website and Instagram.

      “Secret Keeper” (2023), paper collage, 24 x 36 inches

      “Muvah” (2022), paper collage, 40 x 30 inches

      “License to Loiter” (2021), paper collage on birchwood, 24 x 36 inches

      “Muvah & Me” (2024), paper collage on birchwood panel, 30 x 24 inches

      “The Fainting Couch” (2022), mixed media paper collage on birchwood panel, 24 x 36 inches

      “We Real Cool” (2024), paper collage on birchwood panel, 40 x 30 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