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

    “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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    In ‘Crewel Intentions,’ Danielle Clough Delves into the Nostalgic World of 1970s Magazines

    “Crewel Intentions” (2025), wool, cotton, rayon, and silk on linen, 9.5 x 18 x 2.25 inches framed. All images courtesy of the artist and Paradigm Gallery + Studio, shared with permission

    In ‘Crewel Intentions,’ Danielle Clough Delves into the Nostalgic World of 1970s Magazines

    August 11, 2025

    ArtCraft

    Kate Mothes

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    Several years ago, Danielle Clough ran across a vintage copy of Playboy at an antique shop. Unbeknownst to her at the time, the 1970s-era film photography, feathered hairstyles, and iconic—if stereotypical—advertising would influence a wide array of large-scale embroidery portraits.

    The Cape Town-based artist (previously) scoured the popular magazine’s pages in search of faces and settings she could translate into embroidery. Because of the source, Clough is sensitive to the fact that one might expect the imagery to be hyper-sexualized, but “when they are stripped from context, they can be beautiful and illicit wholesome reactions in their newly recalibrated, woolly world,” she says.

    “Dyed in the Wool” (2025), wool, cotton, rayon, and silk on linen, 14.5 x 14.5 x 2.25 inches framed

    In her solo exhibition, Crewel Intentions, now on view at Paradigm Gallery + Studio, Clough’s characteristically vibrant fiber compositions tap into a bygone era that, in terms of time, does not seem too distant, but when measured against the technological and socio-political leaps of the past few decades, it can feel like ancient history. Through the historic technique of crewel embroidery, a form of freehand fiber work in which wool yarn is sewn onto cloth, the artist creates a raised and textured surface that can strike virtually any shape or size.

    Nostalgia can have a comforting effect when the contemporary world feels overwhelming. In the 1970s, the world was still largely analog—correspondence primarily went through the mail; magazines and newspapers were printed en masse; and the internet as we know it didn’t yet exist, but there were hints (the “modern” internet would emerge in the mid-1980s).

    The artist merges new materials and saturated hues with imagery and styles we often associate with an earlier age, both romanticizing and acknowledging outmoded attitudes, styles, and technologies. “Clough’s appreciation of her material and her subject allows her to start a conversation on graceful aging,” the gallery says, “celebrating outdated processes of making and the aesthetics that stand the test of time.”

    The 1970s represent a way to explore generational transitions, beauty standards, societal norms, photography, and representation. Through careful cropping and lighting, Clough incorporates a cinematic effect that is most provocative in pieces like “Crewel Intentions” and “The Extra Mile,” in which her characters make eye contact with the viewer, as if they know what’s in store for the future.

    Crewel Intentions continues through August 24 in Philadelphia. Explore more on the artist’s website and Instagram.

    Detail of “Crewel Intentions”

    Installation view of ‘Crewel Intentions’ at Paradigm Gallery + Studio

    “The Extra Mile” (2025), wool, cotton, rayon, and silk on linen, 8.25 x 16.25 x 1.5 inches framed

    “The Yarn We Spin” (2025), wool, cotton, rayon, and silk on linen, 25 inches diameter

    Detail of “What’s a Girl to Do?” (2025), wool, cotton, rayon and silk on linen, 32 inches diameter

    Installation view of ‘Crewel Intentions’ at Paradigm Gallery + Studio

    “Boy Lollipop” (2025), wool, cotton, and silk on linen, 17 inches diamater

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    Gabrielle Garland’s House Portraits Illuminate Daily Life, Individuality, and the ‘Fabric of Society’

    “Good morning, winner. Take a deep breath. Good. You’re ready to dominate this day. —
    Motivational Voice,
    Booksmart (2019)” (2024), acrylic and oil on canvas, 48 x 48 inches. All images courtesy of the artist and Miles McEnery Gallery, shared with permission

    Gabrielle Garland’s House Portraits Illuminate Daily Life, Individuality, and the ‘Fabric of Society’

    July 31, 2025

    Art

    Kate Mothes

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    Gabrielle Garland may not depict people in her square-format, mixed-media paintings, yet the works might as well be described as portraits. From mailboxes and landscape choices to colorful stoops and glowing interior lights, her vibrant depictions of houses seem to come alive with saturated color and almost palpable feeling.

    Distorted, even cartoonish, Garland’s homes portray a range of American vernacular styles, from ranches to bungalows to Queen Annes. Often, neighborhood happenings enter the scene, like the shoulder of an adjacent house, power lines, trees, or planes flying overhead.

    “Remember, you’re the one who can fill the world with sunshine. — Snow White, Snow White and the Seven Dwarfs (1937)” (2024), acrylic and oil on canvas, 36 x 36 inches

    A new solo exhibition of Garland’s work opens at Miles McEnery Gallery next month, titled I’ll Get You, My Pretty, and Your Little Dog Too. Her titles typically reference quotes from films, ranging in tone and topic as much as her homes also appear to do.

    “Stairs, flower boxes, and mailboxes swell or shrink disproportionately, revealing the distortions of the artist’s memory (that murky area where structural logic intermingles with emotional noise),” says a gallery statement. Whether depicted at night, during fireworks displays, in a storm, or in the blazing sun, the details of each house converge with out-of-context sentiments from movies that draw us into their unique characteristics and quirks while also affording a playful insight into the artist’s frame of mind.

    Garland takes inspiration from everyday observations around her home in New York and beyond. She often works from her own photographs, sometimes using found images. “My body of work might be interpreted as an investigation of the physical fabric of society,” Garland told Dovetail. “I believe it documents the constantly shifting balance between our desire for independence and interconnection, between the comfort and familiarity we seek and the strangely disorienting spaces we create.”

    I’ll Get You, My Pretty, and Your Little Dog Too opens on September 4 and continues through October 25 in New York City. Find more on Garland’s website and Instagram.

    “Whoever you are, I have always depended on the kindness of strangers. —Blanche DuBois, A Streetcar Named Desire (1951)” (2025), acrylic, oil, and glitter on canvas, 48 x 48 inches

    “I’m glad he’s single because I’m going to climb that like a tree. —Megan, Bridesmaids (2011)” (2024), acrylic on canvas, 48 x 48 inches

    “We have enough. You can stop now. —Ava Fontaine, Lord of War (2005)” (2024), acrylic, molding paste, glitter, and oil on canvas, 48 x 48 inches

    “And… and… c’mon, Nick, what do you expect? To live happily ever after? —Elizabeth James, The Parent Trap (1998)” (2024), acrylic, oil, and glitter on canvas, 48 x 48 inches

    “I don’t bite, you know… unless it’s called for. —Regina Lampert, Charade (1963)” (2024), acrylic on canvas, 48 x 48 inches

    “I’m scared. —Christine, Before I Go to Sleep (2014)” (2025), acrylic and glitter on canvas, 36 x 36 inches

    “That is why every day we pray for rain. —Daena, Planet of the Apes (2001)” (2024), acrylic and glitter on canvas, 36 x 36 inches

    “It’s just, living alone, you know? And, the thought of buying those books like Cooking For One, and… it’s just too depressing. —Allison Jones, Single White Female (1992)” (2024), acrylic on canvas, 48 x 48 inches

    “I guess it feels different when it’s someone you love —Cassandra, Promising Young Woman (2020)” (2025), acrylic on canvas, 36 x 36 inches

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    More than 70 Iconic Works by Kerry James Marshall Shape a Major Survey in the U.K.

    “Untitled” (2009), acrylic on PVC panel, 155.3 x 185.1 centimeters. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979. © Kerry James Marshall. ‘Kerry James Marshall: The Histories’ is organized by the Royal Academy of Arts, London, in collaboration with the Kunsthaus Zürich and the Musée d’Art Moderne, Paris. All images courtesy of the Royal Academy of Arts, shared with permission

    More than 70 Iconic Works by Kerry James Marshall Shape a Major Survey in the U.K.

    July 31, 2025

    ArtSocial Issues

    Kate Mothes

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    Drawing upon art historical sources, contemporary culture, and comics, Kerry James Marshall vibrant paintings boldly challenge the past. Through often monumental portraits of Black figures, the Chicago-based artist (previously) delves into themes of race, identity, legacy, and representation to bridge history and the present and imagine a better future.

    In the largest survey of the artist’s work ever presented outside of the U.S., the Royal Academy of Arts hosts Kerry James Marshall: The Histories. Organized in collaboration with Kunsthaus Zurich and the Musée d’Art Moderne, Paris, the exhibition opens next month and features more than 70 works that span the artist’s career thus far. The show also includes a monumental oil painting commissioned for the Chicago Public Library titled “Knowledge and Wonder,” which is on loan for the first time.

    “School of Beauty, School of Culture” (2012), acrylic and glitter on unstretched canvas, 274.3 x 401.3 centimeters. Collection of the Birmingham Museum of Art, Alabama; Museum purchase with funds provided by Elizabeth (Bibby) Smith, the Collectors Circle for Contemporary Art, Jane Comer, the Sankofa Society, and general acquisition funds, 2012.57. Photo by Sean Pathasema. © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York

    The Histories is organized into 11 groups of works made between 1980 and the present, inviting viewers through a thematic and stylistic journey. The exhibition opens with “The Academy,” painted in 2012. A male model in a life drawing class stands in front of a patterned backdrop and looks directly at the viewer, giving the iconic raised fist of the Black Power movement.

    Marshall has long been guided by his early encounters with European art in museums and books, where he recognized a stark lack of Black figures. By the 1980s, he focused on the idea of visibility, creating the seminal piece “A Portrait of the Artist as a Shadow of His Former Self,” which emphasizes his interest in confronting stereotypes.

    Typically working in series or cycles, Marshall often touches upon epochal social and political paradigms of the past, like slavery and the Middle Passage, Black Power and the Civil Rights movement, and the historical omission of people of color from Western painting traditions. His works often highlight daily African American experience and elevate everyday activities and interactions, like gathering at the barber shop, making a painting, relaxing at the park, or hanging out on the porch. Marshall posits that the past can be a tool with which to hew the future.

    Kerry James Marshall: The Histories opens on September 20 and continues through January 18 in London. Plan your visit on the RA’s website.

    “The Academy” (2012), acrylic on PVC, 182.9 x 154.9 centimeters. Collection of Dr. Daniel S. Berger, © Kerry James Marshall. Image courtesy of the artist and Jack Shainman Gallery, New York

    “Knowledge and Wonder” (1995), oil on canvas, 294.6 x 698.5 centimeters. City of Chicago Public Art Program and the Chicago Public Library, Legler Regional Library, © Kerry James Marshall. Photo by Patrick L. Pyszka, City of Chicago

    “Vignette #13” (2008), acrylic on PVC panel, 182.9 x 152.4 centimeters. Susan Manilow Collection. © Kerry James Marshall. Image courtesy of the artist and Jack Shainman Gallery, New York

    “Untitled (Policeman)” (2015), acrylic on PVC panel with plexiglass frame, 152.4 x 152.4 centimeters. The Museum of Modern Art, New York, gift of Mimi Haas in honor of Marie-Josée Kravis, 2016. © Kerry James Marshall. Photo courtesy of The Museum of Modern Art, New York/Scala, Florence

    “Untitled (Porch Deck)” (2014), acrylic on PVC panel, 180.3 x 149.9 centimeters. Kravis Collection, © Kerry James Marshall. Image courtesy of the artist and David Zwirner, London

    “De Style” (1993), acrylic and collage on canvas, 264.2 x 309.9 centimeters. Los Angeles County Museum of Art, purchased with funds provided by Ruth and Jacob Bloom. © Kerry James Marshall. Photo: © Museum Associates/LACMA

    “Untitled (Blanket Couple)” (2014), acrylic on PVC panel, in artist’s frame, 150.2 x 242.5 centimeters. Fredriksen Family Art Collection, © Kerry James Marshall. Image courtesy of the artist and David Zwirner, London

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    Hypnotic Patterns Envelop Sofia Bonati’s Nostalgic and Stylish Imagined Portraits

    All images courtesy of Sofia Bonati, shared with permission

    Hypnotic Patterns Envelop Sofia Bonati’s Nostalgic and Stylish Imagined Portraits

    July 29, 2025

    ArtIllustration

    Kate Mothes

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    In the bold, imagined portraits of Sofia Bonati (previously), women gaze confidently from swaths of fabric and symmetrical organic elements. Whether cloaking her figures in geometric patterns or natural details like insect wings, each individual gazes directly at the viewer amid vibrant backgrounds and elegant garments.

    Bonati often derives her patterns and outfits from historical sources, especially hairstyles and gowns from the early 20th century. Surrounded by optical designs and repetitive motifs, her compositions are as nostalgic and surreal as they are contemporary. Find more on the artist’s website and Instagram.

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    Unity and Resilience Flow Through Taquen’s Gestural Compositions

    Unity and Resilience Flow Through Taquen’s Gestural Compositions

    July 10, 2025

    ArtSocial Issues

    Jackie Andres

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    In large-scale minimalist compositions, street artist Taquen covers the sides of houses, hospitals, and street barriers with reminders of strength and mutual understanding.

    Often depicting animals in motion, kinetic portraits, and expressive hands, Taquen’s expansive works exude momentum. The importance of movement reflects a central tenet of the artist’s practice, as he visits different parts of the world to work on murals.

    One of his recent excursions was made possible by The Jaunt, a residency program that creates opportunities for artists to travel to a new destination to spark inspiration and connection. In February, Taquen made the journey from his hometown of Madrid to Africa to participate in the Sahara Marathon.

    Established in 2001 to advocate for and demonstrate solidarity with the Sahrawi people, the international event takes place in close proximity to Tindouf, Algeria, a region that has been marked by the Western Sahara Conflict and humanitarian crisis for decades.

    In 1975, when Spain relinquished its colonial rule over the Western Sahara region, a power vacuum erupted between neighboring countries, leading to the Madrid Accords. This agreement heavily ignored the voices of Indigenous Sahrawi people who were forced into displacement, eventually settling into refugee camps that still reside in the Algerian desert approximately fifty years later.

    The long-standing conflict has faded in and out of headlines for decades, but the Sahara Marathon has continued to shine a light on the resilience of the Sahrawi people. “It was a project that allowed me to combine my greatest passions—art and sport—and also to contribute as much as possible to this unjust cause,” Taquen shares.

    The artist’s resulting silkscreen print demonstrates his experiences in Tindouf. Featuring two gestural hands with bold line work that subtly nods to henna, Taquen references young Sahrawi women, who play a vital role in the desert’s society. “During the marathon, for example, they were the ones who encouraged us the most,” the artist shares. “In the houses where we lived, they took care of us, their families, and so on. They are an example.”

    Arabic text lies below, alluding to a phrase that resonated with Taquen along the way. “The Sahrawi people living in the refugee camps call this place ‘the desert in the desert,’ which is meant both geographically and metaphorically. I knew I wanted to reference that in my artwork,” he says.

    Beyond the limited-edition print, Taquen also created a four-color risograph portrait combining line drawings and analog photography. And before leaving the refugee camps, the artist hosted two art workshops for children, sharing, “at the end of the day, these are boys and girls who do not speak my language, but through drawing we were able to express ourselves. It taught me a lot about their ideas and their hopes for the future.”

    The artist is currently in Sicily completing the Graniti Murales residency and has a busy year coming up including an art festival this summer and a solo exhibition in the fall. Keep up with his work on Instagram, and learn more on his website.

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    In a Baltimore Exhibition, the Transformative Potential of Today’s Griots Emerges

    Alanis Forde, “A Sea Bath” (2023), oil on canvas, 25 x 20 inches. All images courtesy of the artists and Galerie Myrtis, shared with permission

    In a Baltimore Exhibition, the Transformative Potential of Today’s Griots Emerges

    June 27, 2025

    Art

    Grace Ebert

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    Stories have long helped us to understand the world and our place within it. For the western Sahel in West Africa, storytellers known as griots are often responsible for sharing oral histories and local legends. As generations pass and culture shifts, griots add onto the narratives they’ve inherited with contemporary details relevant to their audiences.

    A group exhibition curated by Noel Bedolla and Ky Vassor at Galerie Myrtis gathers a dozen international artists continuing this tradition. Emergence: Stories in the Making presents “a mirror to contemporary society” by positing that the narratives we tell play a critical role in collective experiences, acts of solidarity, and ultimately, societal progress.

    Kachelle Knowles, “Queen’s College” (2025), graphite, decorative paper, colored pencils, thread, charcoal, acrylic paint, ink, acrylic gemstones, marker on paper, 28 x 18 inches. Image courtesy of the artist, Galerie Myrtis, and Tern Gallery

    For Alanis Forde, imagining paradise and its trappings is a way to excavate questions about internal conflict. She often paints figures with blue masks and bodies, the vibrant disguises becoming proxies that allow the artist to merge her likeness with a fictive version of herself. Subverting the art historical and cultural representations of Black women “as objects of pleasure and servitude,” Forde shapes an alternative narrative.

    Kachelle Knowles works in a parallel practice. Through mixed-media portraits with patterned paper, thread, and acrylic gems, the Bahamian artist focuses on Black teenagers and asserts their rights to fluid gender expressions.

    While portraits feature prominently in Emergence, Kim Rice’s “American Quilt” invokes the politics of the body without visualizing a figure. Her large-scale tapestry is comprised of maps distributed by the Home Owners’ Loan Corporation, the defunct federal agency responsible for delineating which neighborhoods were too “hazardous” to receive mortgages in a racist process known as redlining. Stitched together with red thread, “American Quilt” makes explicit the ways that “whiteness is woven into our everyday lives,” Rice says.

    If you’re in Baltimore, see Emergence: Stories in the Making through July 12.

    Alanis Forde, “Garden Gloves” (2024), oil on canvas, 40 x 40 inches

    Kim Rice, “American Quilt” (2025), HOLC “redlining” maps, acrylic gel, thread, 10 x 11 feet. Photo by Vivian Marie Doering

    Kim Rice, “American Quilt” (2025), HOLC “redlining” maps, acrylic gel, thread, 10 x 11 feet. Photo by Vivian Marie Doering

    Kim Rice, “American Quilt” (2025), HOLC “redlining” maps, acrylic gel, thread, 10 x 11 feet. Photo by Vivian Marie Doering

    Unyime Edet, “Spirit To Spirit: The Night Watchers” (2024), oil on canvas, 55 x 59 inches

    Damilare Jaimu, “All Things Bloom” (2025), oil and acrylic on canvas, 48 x 36 inches

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    Natural Motifs Entwine the Monumental Figures of Robert Pruitt’s Divine Portraits

    “Portrait of Herman
    Smith from Atlantic
    City” (2024), charcoal, conté, pastel, and coffee wash on paper, 84 x 120 inches. All images © Robert Pruitt, courtesy of the artist and Salon 94, New York, shared with permission

    Natural Motifs Entwine the Monumental Figures of Robert Pruitt’s Divine Portraits

    June 6, 2025

    Art

    Grace Ebert

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    Through tight, circular marks and soft shading, Robert Pruitt creates portraits that invite viewers into a magical world. Rendered in a mix of charcoal, conté, and pastel, his works are rooted in storytelling and how personal narrative offers insight into broader, more collective questions about Southern culture, rituals, and enmeshed identities.

    The artist brings models into his Harlem studio and photographs them donning elaborately constructed costumes. His drawings emerge from these sessions, although Pruitt prefers a monumental scale. Rendered on paper dyed with coffee, the portraits stretch upwards of seven feet, their meticulous shading and linework backdropped by washes of the characteristically warm hue.

    “Eve hiding in the Garden of Eden” (2024), charcoal, conté, pastel, and coffee wash on paper, 84 x 60 inches

    A recent self-portrait presents the artist in his signature novelty glasses, the swirling X-Ray lenses resting on his forehead. His hands, rather than his face, are the subject of this ten-foot-wide work, and each wears gold jewelry, his hometown represented on a Houston Rockets ring. The title nods to the character of Herman Smith, played by Richard Pryor in the 1978 retelling of The Wonderful Wizard of Oz, The Wiz.

    Adornment is prominent in Pruitt’s works and serves a dual purpose: it provides a means to excavate questions about identity, culture, place, and time and also offers a chance to find something “fun and weird to draw,” he says. Recurring motifs like lemons, mushrooms, snakes, and birds are a more recent addition to his portraits, and they often envelop the central figure. In “Princess with a plague of Grackles,” for example, the quintessential Texan creature perches on a seated woman’s shoulders and arms.

    “Lately, I’ve been thinking more about the body as continuous with the world. Our bodies take things in, let things out—and that process, to me, signals a kind of equality with everything around us,” Pruitt tells Colossal.

    “Figure Crowned in T.S.U. Ceramic Headdress (After Roy Vinson Thomas)” (2024), charcoal, conté, coffee wash on paper, 84 x 60 inches

    Connecting to nature also invokes the divine and alludes to the artist’s constellation of references, whether it be his interest in science fiction, comic books, music, or his enduring love for “swampy, humid Houston, Texas,” he adds.

    I think part of it is nostalgia, especially in contrast to my life now in New York City. I miss home…On some level, these works feel like staging grounds for my own origin story—coming from a complicated metropolis that also feels deeply rural. A kind of Eden, but one filled with mosquitoes and stray dogs. Nature not as cute or comforting but indifferent—and still sacred.

    If you’re in New York, you can see Pruitt’s work in a solo exhibition named after a Sun Ra libretto, …Son…Sun…Sin…Syn…zen…Zenith, at Salon 94. Find more from the artist on his website and Instagram.

    “Lemon Tree” (2024), conté, pastel, and coffee wash, 84 x 60 inches. Photo by Brica Wilcox, courtesy of the artist and Vielmetter Los Angeles

    “Princess with a plague of Grackles” (2024), charcoal, conté, pastel, and coffee wash on paper, 84 x 60 inches

    “Y’all Are Just Gon Have to Make Amends” (2021), conté, charcoal, and pastel on coffee wash on paper, 87 1/4 x 63 1/8 x 2 inches. Photo by Dan Bradica

    “Man born with a veil” (2024), charcoal, conté, pastel, and fabric dye on paper, 84 x 60 inches

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