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    Tropical Flowers and Prickly Cacti Leap from Lili Arnold’s Vibrant Block Prints

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    “Strelitzia Reginae, a.k.a. Bird of Paradise III.” All images courtesy of Lili Arnold, shared with permission

    Tropical Flowers and Prickly Cacti Leap from Lili Arnold’s Vibrant Block Prints

    March 26, 2025

    ArtIllustrationNature

    Kate Mothes

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    Every year, Lili Arnold’s mother would block-print holiday cards to send to family and friends. When she was old enough to wield a carving tool, Arnold began to make her own, too. But it wasn’t until college, when she took an Intro to Printmaking class, that she became enthralled with the practice’s myriad methods.

    Block printing specifically captured Arnold’s attention because of its relatively simple components and technique—no giant presses required. The block can expand in scale, incorporate different colors, or be layered with numerous pressings.

    “Strelitzia Reginae, a.k.a. Bird of Paradise”

    “I think what I love most about the process is seeing my first print after so many hours of sketching, planning, carving, and troubleshooting,” Arnold tells Colossal. “There’s a lot of thought and time invested in the steps before the actual print becomes real, so when I see that first reveal, it’s both terrifying and thrilling.”

    Arnold’s compositions often revolve around natural subjects, especially botanicals like cacti and tropical flowers. She is fascinated by the environment’s infinite interaction of colors, textures, patterns, and symmetry.

    “There’s such vast diversity of plant life out there, each ecosystem encapsulating unique details and wonders,” she says. “We as artists and botanical patrons have the pleasure of translating and expressing our appreciation of this beauty through our artwork, writing, gardening, exploring, and beyond.”

    Follow updates on Arnold’s Instagram, and browse prints available for purchase in her shop.

    “Zantedeschia Albomaculata, a.k.a. Spotted Calla Lily III”

    “Palm Study III”

    “Emergence of Spring”

    “Opuntia Ficus-Indica, a.k.a. Prickly Pear”

    Blocks ready for printing

    Pulling “Opuntia Ficus-Indica, a.k.a. Prickly Pear”

    Block for “Banksia Prolata”

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      in Art

      Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages

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      “Residue” (2018). Photo by Ryohei Yanagihara. All images courtesy of Rui Sasaki, shared with permission

      Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages

      March 10, 2025

      ArtNature

      Kate Mothes

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      “What is essential is invisible to the eye,” Antoine de Saint-Exupéry wrote in his 1943 novella The Little Prince, a sentiment that drives Rui Sasaki’s work. From what the artist (previously) describes as a “mysterious and ambiguous material,” botanicals appear to float in frozen cubes of water.

      Sasaki employs glass to document and preserve the nature of the present. Works like “Subtle Intimacy” respond to places and experiences where she feels present. “It is vital for me to connect who I am and where I am, especially when I am in unfamiliar spaces,” the artist tells Colossal. She likens intimacy to nostalgia, exploring the depth of feeling associated with memories, comfort, and security.

      “Subtle Intimacy 2012-2023” (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der Giesen

      Sasaki traces her fascination with the medium to childhood, specifically to its visual similarities to the surfaces of ponds or lakes. “I was always wondering how I could make something out of water,” she says. “When I saw molten glass at a glassblowing studio during a summer family trip in Okinawa, I fell in love with it.”

      When Sasaki moved to the U.S. from Japan in 2007, she began incorporating plants into her work as a way to “recover my senses from my loss of intimacy and home in my mother country,” she says. When she returned to Japan five years later, she continued to hone her focus on botanicals.

      Enchanted by how plants can express experiences of her surroundings, Sasaki portrays individual botanicals in sculptures ranging in size from a few feet wide to room-size installations. She says:

      Collecting plants is the most important aspect of the work. I use all my five senses in gathering plants. That helps me to recall my past memories, especially in my childhood, and to connect my feelings of intimacy towards my country, Japan.

      Sasaki places collected specimens between two sheets of glass and fires the piece in a kiln. The plant turns to white ash, leaving the impression of petals, leaves, and veins. Air bubbles that naturally emerge in the heat are also preserved in what the artist likes to a time capsule. The original form of the plant no longer exists but its impression endures.

      Detail of “Subtle Intimacy 2012-2023″ (2023). Photo by Nik van der Giesen

      Dualities like presence and absence, fragility and strength, and transparency and opacity merge with Sasaki’s interest in “befriending” glass while reveling in the knowledge that she will never fully comprehend everything about it.

      If you’re in Denmark, you can see Sasaki’s sculptures at Glas from March 22 to September 28 in Ebeltoft. Her work will also be on view later this year at the Aichi Triennale 2025. Explore more on the artist’s website, and follow Instagram for updates.

      “Residue” (2018). Photo by Ryohei Yanagihara

      “Unforgettable Gardens” (2022). Photo courtesy of Art Court Gallery / Takeru Koroda

      “Subtle Intimacy 2012-2023” (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der Giesen

      Detail of “Subtle Intimacy / Utsuroi” (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya Nomura

      “Subtle Intimacy / Utsuroi” (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya Nomura

      Detail of “Dormant Recollections” (2024). Photo courtesy of Northern Alps Art Festival

      Detail of “Unforgettable Reminiscences” (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, ©︎ Tokyu Kabuchiko Tower

      Detail of “Unforgettable Reminiscences” (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, ©︎ Tokyu Kabuchiko Tower

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    • 150 Shares169 Views

      in Art

      ‘Doing Is Living’ Highlights Five Decades of Ruth Asawa’s Biomorphic Wire Sculptures

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      Installation view, ‘Ruth Asawa: Doing Is Living,’ David Zwirner, Hong Kong, November 19, 2024 to February 22, 2025. All artworks © 2024 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), New York. Images courtesy of David Zwirner, shared with permission

      ‘Doing Is Living’ Highlights Five Decades of Ruth Asawa’s Biomorphic Wire Sculptures

      January 7, 2025

      ArtHistory

      Kate Mothes

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      In the wake of World War II panic and paranoia, the U.S. government feared that Japanese Americans would commit acts of sabotage against the nation. Along with some 120,000 Japanese Americans living in the western part of the country, Ruth Asawa (1926-2013) and her family—separated from their father, who was sent to a camp in New Mexico—were uprooted in 1942 and sent to another internment camp hastily organized at the Santa Anita race track in Arcadia, California. There, Asawa and her siblings lived in two horse stalls for five months.

      Since Asawa no longer had to work on the farm, she began to fill her days by drawing. “Among the detainees were animators from the Walt Disney Studios, who taught art in the grandstands of the race track,” says the artist’s estate. “In September, the Asawa family was sent by train to an incarceration camp in Rohwer, Arkansas, where Ruth continued to spend most of her free time painting and drawing.” This creative practice would shape the rest of her life.

      “Untitled (S.081, Hanging Four Interlocking Cones)” (c. 1960-1965)

      At David Zwirner in Hong Kong, a new exhibition titled Doing Is Living celebrates Asawa’s renowned wire sculptures (previously) and intimate works on paper. The show marks the first solo presentation of her work in Greater China, focusing on the artist’s connection with the natural world.

      “I study nature and a lot of these forms come from observing plants,” Asawa said in a 1995 interview. “I really look at nature, and I just do it as I see it. I draw something on paper. And then I am able to take a wire line and go into the air and define the air without stealing it from anyone.”

      Asawa began developing her wire sculptures in the 1940s while a student at Black Mountain College. An experimental liberal arts school nestled in the hills of rural North Carolina, the college was a progressive program designed to shape young people into well-rounded individuals who could think critically as they proceeded into society.

      The school centered democratic processes, placing the responsibility for education with the students themselves, who often weighed in on admissions and new faculty selections. Students were expected to contribute to everyday operations by working on the farm, cooking in the kitchen, and constructing school buildings and furniture as needed.

      Asawa enrolled at BMC in 1946 and spent three years there. “Teachers there were practicing artists,” she said. “There was no separation between studying, performing the daily chores, and relating to many art forms.” She counted painter Josef Albers, inventor Buckminster Fuller, mathematician Max Dehn—and many others—among lifelong influences. “Through them, I came to understand the total commitment required if one must be an artist,” she added.

      Installation view

      “For Asawa, her time at Black Mountain was so transformative because its culture gave her the right to do anything she wanted to do,” says her estate, adding:

      For the first time, she was expected to have an opinion. She encountered teachers who gave her the freedom and responsibility to fail or succeed as only she could, as a unique individual. She lived among strong, creative women—Trude Guermonprez, Anni Albers, and Marguerite Wildenhain, to name a few—who lived as working artists. Black Mountain College gave her the courage to become an artist and the creed by which she would live the rest of her life.

      In late 1949, after her time at the college, Asawa moved to San Francisco with Albert Lanier, whom she soon married. In the 1950s, prestigious exhibitions like the Whitney Biennial and a show at the San Francisco Museum of Modern Art introduced her work to a growing audience. Asawa was also passionate about education, and she became the driving force behind the creation of the San Francisco School of the Arts.

      When she began working with wire, Asawa experimented with relatively conventional basket designs before moving into biomorphic, abstract works that could be strung from the ceiling. She learned a crochet technique in Toluca, Mexico, where she visited Josef Albers in 1947 while he was on sabbatical.

      “Untitled (S.210, Hanging Single-Section, Reversible Open-Window Form)” (1959)

      Many of her works incorporate nested, membrane-like “form-within-a-form” layers in which elements appear to fold in on themselves or turn inside-out. Asawa later remarked, “What I was excited by was that I could make a shape that was inside and outside at the same time.”

      Doing Is Living highlights intricate, ethereal pieces that merge elements of textile and sculpture. Delicate and airy, her compositions “range from elaborate multi-lobed compositions to small spheres and billowing conical forms that require extreme technical dexterity to achieve,” the gallery says. Highlights also include her heavier tied-wire pieces, which she began making in 1962, which showcase branch-like organic forms and biological phenomena.

      “After having been gifted a desert plant whose branches split exponentially as they grew, Asawa quickly became frustrated by her attempts to replicate its structure in two dimensions,” the gallery says. “Instead, she utilized industrial wire as a means of mimicking the form through sculpture and, in doing so, studying its shape.” Asawa was fascinated by the permeability of the sculptures and the viewer’s ability to look through them, like seeing the sky between tree branches.

      “Relentlessly experimental across a variety of mediums, Asawa moved effortlessly between abstract and figurative registers in both two and three dimensions,” the gallery says. The work in this show spans five decades and exemplifies the range of media and techniques she employed in her career.

      Doing Is Living continues through February 22. Learn more about the exhibition on David Zwirner’s website, and dive further into Asawa’s work and biography on her estate’s website.

      “Untitled (S.862, Wall-Mounted Tied-Wire, Open-Center, Five-Pointed Star with Five Branches)” (c. 1969)

      Installation view

      “Untitled (S.524, Hanging Miniature Single Section, Reversible Six Columns of Open Windows)” (c. 1980-1989)

      Installation view

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    • 125 Shares199 Views

      in Art

      Rice Straw Sculptures by ARKO Contemporize a Traditional Japanese Material

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      All images courtesy of the artist and Somewhere Tokyo, shared with permission

      Rice Straw Sculptures by ARKO Contemporize a Traditional Japanese Material

      December 23, 2024

      ArtCraft

      Kate Mothes

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      Rice harvests produce straw, a natural byproduct of the dried grain. Traditionally, the material could be used for a wide variety of objects from tatami mats to food wrappers to carrier bags. Many of those products are now made using synthetic materials, and rice straw is more often used for ceremonial or sacred decorations like Shinto shimenawa festoons, which are installed around the New Year and can range from a few centimeters to several meters long.

      For Tokyo-based artist ARKO, rice straw finds a contemporary application in elegant wall hangings. “I started thinking that it should be something new, apart from the old traditions, given that there must be a reason why straw vanished from our life,” she says.

      Interested in the organic nature of the medium, ARKO embraces how environmental changes can influence the look of the work as a reminder that the fiber originated from the ground. Sometimes moisture in the air makes the pieces feel heavy or the straw will emit a scent. Most of the time she maintains the natural color of the thin stalks, occasionally dying layers black or using contrasting string to hold the composition together.

      “In modern times, straw has been replaced by artificial materials and is manufactured with the premise of environmental pollution. (It) is mass-produced and discarded in large quantities,” ARKO says. Although she doesn’t prescribe a ritual meaning to the work, the sculptures evoke “the laws of nature and the great power of life that are often overlooked in modern society where economy takes priority.”

      ARKO is represented by Somewhere Tokyo, and you can find more work on her website and Instagram.

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    • 138 Shares159 Views

      in Art

      Fantastic Blooms Entwine with Sculptural Motifs in Mevlana Lipp’s Imagined World

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      “Zenith” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters. All images courtesy of the artist and Capsule Venice, shared with permission

      Fantastic Blooms Entwine with Sculptural Motifs in Mevlana Lipp’s Imagined World

      December 10, 2024

      Art

      Grace Ebert

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      Behind barred motifs evocative of a wrought iron fence, otherworldly flowers are in full bloom, their heads stretching wide and tall while tendrils and leafy vines wind around the open barriers. Rendered in contrasting palettes of jewel tones and pale, muted hues, these uncanny plants are part of the latest body of work by Mevlana Lipp.

      While visiting Venice earlier this year, the Cologne-based artist admired the elaborately patterned fencing that wove its way throughout the historic islands. “As I wandered through the city, I noticed the intricate metal bars on many windows,” he says. “For me, these bars symbolize a barrier between the world I inhabit and the fictional place I long for.”

      “Seven” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

      Vista is the culmination of this inspiration and presents an electrifying botanical collection. For these pieces, Lipp continues to meld painting and sculpture, as he layers acrylic paint, ink, and sand onto intricately cut wooden panels, which he positions atop velvet. This soft material interacts with the mottled, spotted, and patterned textures of the painted components and bolsters the sense of depth, becoming a vast chasm behind the fantastical florals.

      Compared to his previous works, though, Vista ventures into warmer, brighter color palettes. The artist shares:

      While the dark blue, green, and lilac backgrounds often create a sense of infinite voids, I wanted to explore other imageries as well. Think of an icy cold mist or a red desert stretching endlessly into the distance. I wanted to create works which have a wider array of temperatures.

      Lipp’s interest in expanding his palette dovetails with the symbolic elements of his work. As the artist sees it, plants are metaphors for base instincts and emotion, as they commune with each other and various species without the same social and cultural pressures of humans. Broadening his formal approach offers more room for spontaneity and unrestrained exchanges. “When you walk into the forest, you take a look at all the existing connections, at how things interact with each other without fear,” he says. “Plants don’t run the risk of hurting each other’s feelings.”

      Vista is on view through December 15 at Capsule Venice. Find more from Lipp on Instagram.

      “Cassiopeia” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

      “Coil” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

      “Halo” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

      “Ice” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

      “Cassiopeia” (2024), wood, velvet, acrylic color, ink, sand, aluminum stretcher, 45 x 33 x 4 centimeters

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    • 113 Shares169 Views

      in Art

      Vibrant Life Emanantes from Meggan Joy’s Magical Collaged Silhouettes

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      “Try One’s Luck.” All images courtesy of J. Rinehart Gallery, shared with permission

      Vibrant Life Emanantes from Meggan Joy’s Magical Collaged Silhouettes

      September 9, 2024

      Art Nature Photography

      Grace Ebert

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      Thousands of individual flowers and plants grown in Meggan Joy’s Seattle garden form the contours of her ethereal figures. The artist (previously) collages perfectly trimmed photographs of each specimen into silhouettes lush with color and texture.

      In her most recent body of work titled Fever Dream, Joy draws on fear, loss, and the immense potential for pain. “Wide and Wild,” for example, depicts a woman cradling a Eurasian Eagle Owl near her heart. “She’s a piece for when you find your person (whether that be a lover, friend, kids, whatever), and once you have them, you know that if they disappear in any way, you also will be gone,” the artist shares in a statement.

      “Wide and Wild”

      Others relate to bad decisions yielding positive experiences and how etermal bonds require patience and understanding. Each work, Joy shares, “whisper(s) the components of the stories that tested us and, instead of condemning our faults, reveal that those moments left us the most exciting scars.

      Fever Dream is on view through September 25 at J. Rinehart Gallery. Follow Joy’s work on Instagram.

      “Thick As Thieves”

      “Thick As Thieves”

      “Try One’s Luck”

      “Icarus”

      “Tyche”

      Detail of “Wide and Wild”

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