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Cozy Homes and Woodland Wonders Abound in Julie Liger-Belair’s Collages
by Aurelia Butler 10 December 2024, 15:28
“cottage bubble.” All images courtesy of Julie Liger-Belair, shared with permission
Cozy Homes and Woodland Wonders Abound in Julie Liger-Belair’s Collages
December 10, 2024
Art
Kate Mothes
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From flowery headdresses to botanical guises to houses perched on the tippy-top of tree stumps, Julie Liger-Belair’s collages (previously) invite us into a whimsical world. In paper and found objects, she dives into personal stories and the emotional connections binding us to nature, place, and a sense of belonging.
In her Scrappy Blablah series, for example, the artist compiles various cutouts into playful compositions that provide a way of processing external information, coming about “when the paper scraps on my table decide to embody my feelings about the world outside my studio,” she says. “But they also provide the antidote.”
“Vietnam 1”
Liger-Belair and her family recently visited Vietnam, spurred by their eldest daughter, who was adopted from the country and hadn’t been back since. New works inspired by the trip include larger collages with painted elements on wood panels, in addition to found objects, vintage photos, and snapshots the artist took on the trip.
She continues themes of home and comfort through the motif of the house, which often encompasses figures, flowers, patterns, and vines that unfurl beyond their confines. In other compositions, the house shrinks in size, as giant mushrooms and blossoms coexist alongside woodland creatures in fanciful landscapes.
Liger-Belair has also revisited ideas from earlier assemblage work, making small, three-dimensional pieces in sardine tins and other found boxes. “I have always loved collecting things and using them in pieces,” she tells Colossal. “My experiments with resin and ceramics have also made their way into this series (called) tinned stories, and they are more fun, dreamlike pieces.”
Find much more on Liger-Belair’s website, Instagram, and Behance.
“the upside of down” from the ‘tinned stories’ series
“forest blablah”
“blablah in the garden”
“house bubble 14”
“house bubble 18”
“mountain landscape” from the ‘tinned stories’ series
“wide awake,” plus another piece from the studio
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Hollie Chastain Lands a Playful Series of Collaged UFOs
by Aurelia Butler 20 November 2024, 13:20
All images courtesy of Hollie Chastain, shared with permission
Hollie Chastain Lands a Playful Series of Collaged UFOs
November 20, 2024
ArtCraft
Kate Mothes
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From paper, thread, and gouache, Chattanooga-based artist Hollie Chastain (previously) combines ephemera and found materials into vibrant collages. Strips of paper are cut, woven, and stitched into playful, abstract compositions.
The artist’s recent extraterrestrial-inspired series emerged somewhat by accident. “I was playing around with scraps and some abstract surface design, and it ended up vaguely UFO-shaped, so I ran with it,” the artist tells Colossal.
“Green Valley”
Chastain’s playful series uses a limited palette of five colors, in addition to vintage printed matter and a thin maple veneer for visual warmth. “Creating such a big collection with limited materials and colors is both challenging and extremely satisfying,” Chastain says. “I am not overwhelmed with options, yet have to stretch myself to make them each unique.”
Some of the pieces of more intentionally UFO-shaped than others, and Chastain titles each one after the name of a global city where UFO activity has been reported. “I blame David Duchovny,” she says.
Chastain is currently working toward a solo exhibition in late 2025 at Townsend Atelier in Chattanooga. And if you’re in Colorado, you can see her work—including several of the UFOs—in Moons Out, Goons Out at Ah Haa School for the Arts in Telluride through November 30. Find more on her website and Instagram.
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Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers
by Aurelia Butler 19 November 2024, 23:13
“Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841” (2023), collage, hand-cut, Japanese paper, paper weaving, gold leaf, and acrylic painting, 26 x 26 inches
Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers
November 19, 2024
ArtCraft
Kate Mothes
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From found vintage newspapers and hand-painted designs, Myriam Dion composes remarkably detailed collages. Known for reimagining newspapers into sculptural, geometric works, the Montréal-based artist (previously) has recently begun experimenting with a range of found materials, like gouache-painted samples of antique textile patterns and pages from old garden books.
The stories Dion chooses to highlight often revolve around women and their accomplishments. “It is interesting to see how women are documented in the media,” she says, “especially at a time when newspapers were written by men for men and how this evolves and sometimes regresses depending on the subjects,” the artist says.
Detail of “Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841”
Through a painstaking process of cutting and weaving tiny strips of material, Dion adheres gold leaf and adds drawing and painting details. “I also include folding techniques that allow me to create relief and a textile look to the paper,” she says. “Drawing allows me to develop patterns through repetition and is conducive to larger installations.”
The artist currently has work on view in Timelines, her solo exhibition at Arsenal Contemporary in New York City, which emphasizes her interest in milestones like women’s labor rights and suffrage throughout the 20th century, especially in the U.S.
“These themes are expressed through headlines in a dated language as evocative as the homespun crafts that Dion elevates,” says a gallery statement. “By exploiting the metaphoric potential of ephemera, she underscores the vulnerability of these rights while offering a timely reminder of their importance.”
“Miss Marion Cassidy, Daring Canadian Aviatrix, New Mexico, Wednesday, May 21, 1919” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 47 x 47 inches
Dion has recently become fascinated by darning samplers, which like other embroidery samplers, were historically used to showcase one’s knowledge and skills with different stitches. In terms of darning, a method of mending, the patterns often mimicked different weaves or knitting to show that the sampler’s maker was capable of mending a variety of fabrics.
“These are objects rich in know-how and history—they are magnificent and very inspiring for me, both formally and conceptually,” Dion says. “These objects evoke repair and care, which give a second life to damaged fabrics. They are linked to women, indeed: traditional crafts and artisanal virtuosity, elements to which I am sensitive and which greatly influence my creative process.”
Dion is particularly drawn to the samplers’ geometric characteristics, which she incorporates into her own compositions. Patterns and floral motifs intertwine in meticulously detailed pieces, often transforming into ornate framing devices for intimately scaled photographs of women snipped from the newspaper.
The artist recently won a commission for a large public artwork inspired by darning samplers, which will be installed in a new hospital in Vaudreuil-Soulanges, Québec, in 2027. Another public work will be installed at the Santa-Cabrini Hospital in Montréal next summer.
Timelines continues through December 14. Find more on Dion’s website and Instagram.
“Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922” (2024), collage of hand-cut newspaper and Japanese paper, drawing, painting, paper weaving, and gold leaf, 116.5 cm x 108.5 centimeters
Detail of “Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922”
“Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 40 x 40 inches
Detail of “Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942”
“Marie Curie, Radium discoverer to visit America, February 10, 1921” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, felt, and gold leaf, 42 1/2 x 43 inches
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Magic and Whimsy Abound from Shannon Taylor’s Fantastic Watercolor Dioramas
by Aurelia Butler 29 October 2024, 19:14
All images courtesy of Hashimoto Contemporary, shared with permission
Magic and Whimsy Abound from Shannon Taylor’s Fantastic Watercolor Dioramas
October 29, 2024
Art
Grace Ebert
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Tucked inside vintage compacts are magical worlds of whimsy and mischief carefully concocted by Shannon Taylor. The Oakland-based artist (previously) transforms antique vessels into lush breeding grounds for fantastic creatures, spirited gatherings, and the occasional vampiric character.
Taylor’s solo exhibition Night Market opens at Hashimoto Contemporary next month with a stunning collection of works that peek into the strange happenings occurring after darkness.
Meticulously cut with a precision knife from watercolor paintings, each miniature scene lures the viewer into an enchanting environment that appears much more robust than its inches-wide frame. Taylor’s recent works conjure intricately layered narratives of supernatural rituals and a moon passionate about her own likeness, which, at the right angle, is reflected in the mirrored pond below.
Night Market runs from November 9 to 30 in Los Angeles. Until then, find more from Taylor on Instagram.
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Nature and Geometry Merge in Yulia Brodskaya’s Meticulously Quilled Paper Birds
by Aurelia Butler 10 October 2024, 10:00
“Nature of Things.” All images courtesy of Yulia Brodskaya, shared with permission
Nature and Geometry Merge in Yulia Brodskaya’s Meticulously Quilled Paper Birds
October 10, 2024
ArtCraftNature
Kate Mothes
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From individual strips of colorful, methodically folded paper, Yulia Brodskaya’s vibrant compositions take wing. In a new series of quilled artworks, the artist (previously) taps into her love of drawing to emphasize the power of a line.
“In my paper art practice, a drawn two-dimensional line is represented by a three-dimensional strip of paper glued on its edge,” Brodskaya says. For her mini-series of birds, the dimensionality of each line symbolizes ethereality and energy made visible.
“Eagle of Light”
In “Nature of Things,” for example, a kingfisher sits on the edge of a leaf, which appears to overflow with a geometric grid evocative of quantum illustrations of black holes.
Foliage initially inspired the composition. “I was just sitting, observing its shape, following the curving lines with my eyes, and it didn’t take long to receive a vision of a superimposed toroidal shape…” she says, “like an organising principle that has always been there.”
Find more of Brodskaya’s work on her website, and peek into her practice on Instagram.
Detail of “Eagle of Light”
“Things of Nature”
Detail of “Nature of Things”
“Take Off”
Detail of “Take Off”
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From Early Computers to Ships at Sea, Lola Dupre Warps Everyday Objects
by Aurelia Butler 9 October 2024, 10:00
From Early Computers to Ships at Sea, Lola Dupre Warps Everyday Objects
October 9, 2024
ArtPhotography
Grace Ebert
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How would you find home row in fourth-grade typing class if there were 1,700 keys in front of you? Lola Dupre’s latest collages would be intimidating to even the most ambitious student.
The artist (previously) continues her disorienting manipulations with a pair of early Apple desktops, ships with enough stories to rival a high-rise, and a cow so bloated she needs eight legs to stand. Each work pushes the limits of legibility as limbs and common objects undergo exaggerated distortions.
Dupre’s work is on view through November 23 at Prescription Art in Brighton, and she has another show slated for April at Corey Helford Gallery in Los Angeles. Until then, find more on Instagram.
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Symmetric Paper Collages by Haegue Yang Commune with the Spiritual
by Aurelia Butler 2 October 2024, 19:08
“Splashing Volcano Ash Gaze–
Mesmerizing Mesh #140” (2022), Hanji on alu-dibond, framed, 62 x 62 centimeters. All photos by Studio Haegue Yang, courtesy of the artist and The Arts Club of Chicago, shared with permission
Symmetric Paper Collages by Haegue Yang Commune with the Spiritual
October 2, 2024
Art
Grace Ebert
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Known for immersive sculptures and installations that engage the senses, Seoul-born artist Haegue Yang looks toward common materials and traditional craft techniques to explore pressing issues. She often transforms domestic objects like Venetian blinds, electrical fans, and even cans of Spam into dynamic, abstract works that comment on sociopolitical topics like migration, labor, and exile.
Although the artist has risen to international recognition for her three-dimensional pieces, an exhibition at The Arts Club of Chicago peers into another side of her practice. Flat Works surveys two decades of Yang’s paintings, prints, and collages, including her captivating series, Mesmerizing Mesh.
“Flower Explosion Radial Folds–Mesmerizing Mesh #124” (2022), Hanji, graph paper on alu-dibond
Geometric, floral motifs characterize the alluring compositions made from cut and folded hanji, paper derived from mulberry bark. Mesmerizing Mesh references shamanistic traditions, particularly in Korea, Japan, China, and Slavic regions, and what comes from communing with the spirit world.
According to a statement about the series, the symmetric works allude to “sumun, a sheet hung from the ceiling in rituals…to keep away evil spirits,” while the more figurative, anthropomorphic pieces “resemble soul sheets (nukjeon), in which the shaman blows a spirit treated as the identical entity of the deceased being honored.”
Like her sculptures, these collages similarly recontextualize a humble, everyday material. Although they’re two-dimensional, the layered works convey depth, each appearing as a kind of portal guiding viewers into an entrancing, mystical realm.
Flat Works continues through December 20 in Chicago.
“Fluoroscopic-Powered Fire Bird-Mesmerizing Mesh #130” (2022), Hanji on alu-dibond, framed, 62 x 62 centimeters
“Blood Moon Finger-Pulling Bloom Formation–Mesmerizing Mesh #107” (2022), Hanji on alu-dibond
“Rainbow Mist Germination Soul Sheet–Mesmerizing Mesh #184” (2023), Hanji, washi on alu-dibond
“Thunder-Powered Ash Entrails Soul Streamers–Mesmerizing Mesh #148” (2022), Hanji on alu-dibond
“Head Altar Formation–Mesmerizing Mesh #49” (2021), Hanji, graph paper on alu-dibond
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Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits
by Aurelia Butler 2 October 2024, 16:00
White bat, Florida. All images courtesy of Jym Davis, shared with permission
Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits
October 2, 2024
Art Craft Nature Photography
Kate Mothes
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Atlanta-based artist Jym Davis, who also goes by False Face, has a thing for bats. He began making masks of the winged mammals during a series of residencies at national parks in the American West. In Arizona, he learned about Townsend’s big-eared bat and critically threatened species like the pallid bat in Northern California, Oregon, and Idaho.
“(The Townsend’s big-eared bat’s) scrunched up, wrinkly faces, and huge ears seemed so sculptural and beautifully grotesque to me,” Davis tells Colossal. “The more strange and exotic bats I discovered, the more I was inspired to push my sculpting and painting techniques.”
Pallid bat, Idaho
When entering the caves or lava tubes that the bats call home, Davis takes precautions to help protect the animals from contagious diseases and fungi that visitors can track in on their shoes. “In the past century, bats were villainized and intentionally eradicated,” he says. “I think I have a particular fondness for bats because they are so historically misunderstood.”
Drawn to ancient European festival traditions and materials used for centuries, Davis began making masks as a way to connect his work to history and the land.
“For instance, I really love sculpting with papier mâché because it goes back hundreds of years,” he says. “I sew bells and ribbons into my outfits because it is another old festival element—even referenced by Shakespeare.” He typically avoids modern materials, especially anything made of plastic.
Townsend’s big-eared bat, Arizona
While Davis’s designs are based on real creatures, he often embellishes the masks with bold patterns, colors, and geometries. The pieces are part of a broader, ongoing body of work that he describes as a “menagerie of mythological characters,” which include a series of otherworldly avian creatures called Flood Birds and a grouping inspired by moths and butterflies titled Morph Angels, among others.
Davis dons the masks amid natural settings and captures each personality in striking photographs and performances. This month, he is headed to Joshua Tree, California, for some photo sessions in preparation for his forthcoming book focused on Morph Angels.
The artist currently has an albatross mask on view in FORAGE: OCEANS at Dorado 806 Projects in Los Angeles through October 12. Some of his masks are also available for sale on his website, and you can follow updates on Instagram.
You might also enjoy Ashley Suszczynski’s ongoing documentation of ancient masked traditions.
Bat, Florida
Red bat, California
Bat, Florida
Pallid bat, Idaho
White bat, Florida
Red bat, Idaho
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paper

More stories

Cozy Homes and Woodland Wonders Abound in Julie Liger-Belair’s Collages

Hollie Chastain Lands a Playful Series of Collaged UFOs

Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers

Magic and Whimsy Abound from Shannon Taylor’s Fantastic Watercolor Dioramas

Nature and Geometry Merge in Yulia Brodskaya’s Meticulously Quilled Paper Birds

From Early Computers to Ships at Sea, Lola Dupre Warps Everyday Objects

Symmetric Paper Collages by Haegue Yang Commune with the Spiritual

Papier Mâché Bat Masks by Jym Davis Take Wing in Bold Portraits

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