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

by Aurelia Butler 20 August 2025, 14:03

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

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

August 20, 2025

Art

Kate Mothes

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

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

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

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

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

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

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

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

Detail of “Agate 2”

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

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

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

Detail of “Slice 2”

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

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

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Steve Keister Conjures Mythological Creatures from Clay, Wood, and Cardboard
by Aurelia Butler 19 August 2025, 14:45
“Moondog” (2024), glazed ceramic and acrylic on wood, 16.5 x 11.5 x 28.5 inches. All images courtesy of the artist and Derek Eller Gallery, shared with permission
Steve Keister Conjures Mythological Creatures from Clay, Wood, and Cardboard
August 19, 2025
Art
Kate Mothes
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From glazed ceramic, coated cardboard, wood, and acrylic paint, Steve Keister summons mythical beings and enigmatic animal-human hybrids. The artist’s current exhibition, Split Level at Derek Eller Gallery, is a survey of work made during the past eight years, glimpsing the artist’s ongoing exploration of Pre-Columbian art and architecture.
Keister’s mixed-media sculptures initially emerged from experiments with salvaged styrofoam and cardboard packing cartons, which evoked the bold, blocky forms of Mesoamerican architecture like Aztec stone carvings and Mayan step pyramids.
“Leaf-Nose Bat” (2025), glazed ceramic and acrylic on wood, 23 x 33 x 6.5 inches
Through ongoing series like Bio Meso, Batz, and Masked Figures, Keister merges painting, sculpture, and craft techniques into three-dimensional portrayals of what the gallery describes as “bespoke deities that pay homage to Pre-Columbian myth.” Some creatures, like “Xoloitzcuintle,” represent real animals—in this case, a species of hairless dog.
Hybrid creatures like “Standing Bat II” and “Coyote Man” tap into oral histories and belief systems that span North America. Bats are historically emblematic of the boundary between life and death. And Coyote, a potent character in the folklore of numerous Indigenous North American peoples, is variously a magician, creator, glutton, and trickster.
Keister’s compositions range from wall reliefs to freestanding, monument-like sculptures to sprawling floor pieces. “At the core of his ethos is a profound interest in human and animal consciousness,” the gallery says. “Keister extrapolates his subjects from Central American mythology to develop a complex ecosystem of mystical fauna.”
Split Level continues through August 22 in New York City. Explore more on the artist’s website.
“Coyote Man” (2025), glazed ceramic and acrylic on wood, cement, 66 x 16.5 x 17.5 inches
“Xoloitzcuintle” (2025), glazed ceramic and acrylic on wood with found object, 25 x 20 x 33 inches
“Red Tabby” (2024), glazed ceramic and acrylic on wood, 11 x 14 x 3.5 inches
“Cosmic Crocodile” (2017), coated cardboard, glazed ceramic, cement and acrylic on wood, 5 x 32 x 55 inches
“Contrapposto” (2024), glazed ceramic and acrylic on wood, 30 x 24 x 4 inches
“Standing Bat II” (2022), glazed ceramic and acrylic on wood, cement, 65 x 48 x 12 inches
“Mictlantecuhtli” (2017), coated cardboard and acrylic on masonite on wood, 37.25 x 41 x 6.25 inches
“Lateral Bat” (2024), glazed ceramic and acrylic on wood, 40.25 x 24 x 4.25 inches
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In ‘JUJU’s Castle,’ Jean Jullien Reinvents His Childhood Escapes
by Aurelia Butler 15 August 2025, 20:11
All images © Jean Jullien, courtesy of Nanzuka Art Institute, shared with permission
In ‘JUJU’s Castle,’ Jean Jullien Reinvents His Childhood Escapes
August 15, 2025
Art
Grace Ebert
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As a child, Jean Jullien (previously) preferred to spend his time immersed in the pixelated worlds of video games, embarking on adventures with action figures, and reinventing himself in RPGs. Imagining a universe parallel to his own offered a joyful refuge when he needed it most.
Jullien summons this memory for JUJU’s Castle, an enormous, multi-gallery exhibition that invites viewers into the artist’s youthful fantasyland. Rendered in his signature flat, two-dimensional style, monsters, wizards, menacing mushroom creatures, knights, and friendly faces stand ready for play. From tile-esque floors to brightly painted walls to fiery lights lining dungeon walkways, each detail captures Jullien’s exuberant and witty aesthetic. “Years later, as the world seems more and more dire, I’ve decided to visit Juju’s castle once more and to open its doors to the public,” he says.
Eighty small paintings accompany the larger installations and sculptures and are vignettes of make-believe and amusement. There are games of chess, hand-made masks and costumes, and even an elephant slide like those found on the playgrounds of Taiwan.
Although his works often appear lighthearted, Jullien frequently responds to some of today’s most pressing issues, including capitalism’s grip on society and the all-too-relatable feelings of existential dread. JUJU’s Castle is another response to contemporary life. He says:
With constant news of war, global warming, pandemics, and dystopic technological advancements, it seems like our daily lives have become more and more anxiogenic. But there is resistance in the form of escapism, and people have resorted to it in many ways. From video games to role playing games, cosplays, niche literatures, and online communities, people have found means to deviate from the harsh reality.
If you’re in Shanghai, visit Nanzuka Art Institute before October 26 to immerse yourself in Jullien’s world. Otherwise, explore more of his work on his website and Instagram.
“Toshima Playground” (2025), acrylic gouache on canvas, 35.5 x 47.7 x 3.3 centimeters
“Masks” (2025), acrylic gouache on canvas, 35.5 x 47.7 x 3.3 centimeters
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Donald Wasswa’s Delicate Wooden Creatures Emerge from a Speculative Future
by Aurelia Butler 12 August 2025, 14:08
“Lutamaguzi” (2025), Albizia, ebony, and copper, 22 x 17 x 14 centimeters. All images courtesy of the artist and Circle Art Gallery, shared with permission
Donald Wasswa’s Delicate Wooden Creatures Emerge from a Speculative Future
August 12, 2025
Art
Kate Mothes
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Using the wood of silk trees, ebony, and embedded copper details, Donald Wasswa conjures bold forms evocative of imagined living beings. Based in Kampala, Uganda, Wasswa explores the relationships between—and evolution of—science, technology, society, and environmental transformation. Loosely resembling tentacled jellyfish yet somewhat unsettlingly dark and sharp, his sculptures evoke a distinctive tension between familiarity and the unknown; sentient creatures and the stuff of science fiction.
Through the process of manipulating materials, Wasswa considers the secret lives of familiar objects “and how they might in turn determine future humans,” says Circle Art Gallery, which represents the artist. If you plan to be in London this fall, see Wasswa’s works at contemporary African art fair 1-54, which runs from October 16 to 19.
“Kayondo” (2025), Albizia, ebony, and copper, 40 x 26 x 28 centimeters
Detail of “Kayondo”
“Muganzi” (2025), Albizia, ebony, and copper, 40 x 34 x 20 centimeters
“Muhangi” (2025), Albizia, ebony, and copper, 30 x 38 x 30 centimeters
“Gyagenda” (2025), Albizia, ebony, and copper, 34 x 24 x 20 centimeters
“Kyomuhendo” (2025), Albizia, ebony, and copper, 38 x 36 x 25 centimeters
Alternate view of “Muganzi”
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Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane
by Aurelia Butler 11 August 2025, 13:59
“Dear Moments” (2025), acrylic gouache on canvas, 51 1/4 x 114 1/2 inches. All images courtesy of Hashimoto Contemporary, shared with permission
Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane
August 11, 2025
Art
Grace Ebert
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For Danym Kwon, the concept of home is mutable. The artist (previously) recently relocated to San Jose from her native Seoul, having spent just a few years back in South Korea before realizing that she longed to return to the Bay Area where she lived while her children were young.
“I may never have had a place to stay forever. But wherever we were together became a home,” Kwon says about her move and the paintings and sculptures that emerged from the experience. “These works are my way of holding onto that—of cherishing the moments that pass too quickly.”
“A Message of Comfort” (2025), acrylic gouache on canvas in cherry wood foldable frame, 22 1/8 x 33 1/2 x 1 1/8 inches
On view at Hashimoto Contemporary in New York, Dear Moments presents Kwon’s tender, pastel-hued recollections of family life. Tucked within her signature stacks of laundry are small vignettes of siblings digging in the sand at the beach, a couple wandering through an art museum, and a parent snuggled up in bed with their child and a book. The artist’s vessels are similar, depicting a woman strolling along a candy-colored path or a young boy playing with blocks and a toy car.
Having worked largely on canvas, she ventures into birch sculpture for this exhibition, plucking the doting characters common within her paintings and presenting them in three dimensions.
Seemingly mundane, these familial scenes become magical and revered in Kwon’s hands. She beckons viewers into a world where even chores like folding clean clothes offer space for reflection and calm. While we might not treasure such simple moments in the present, Kwon suggests, we should hang on dearly to the small embraces and quiet acts of togetherness that ultimately make us feel at home.
Dear Moments is on view through August 30. Find more from Kwon on her website and Instagram.
“Looking together” (2025), acrylic gouache on birch plywood, 9 1/4 x 7 1/4 x 1 1/8 inches
“A Still Life of You” (2025), acrylic gouache on canvas, 35 3/4 x 28 5/8 inches
“Sand, Stories and a Small House” (2025), acrylic gouache on canvas, 17 7/8 x 17 7/8 inches
“Sunday” (2025), acrylic gouache on birch plywood, 12 1/2 x 21 3/4 x 1 1/8 inches
“My Favorite Path” (2024), acrylic gouache on canvas, 35 3/4 x 28 5/8 inches
“Little Reader’s Nest” (2025), acrylic gouache on paper in cherry wood frame, 8 1/2 x 8 1/2 x 1 1/2 inches
Detail of “Dear Moments” (2025), acrylic gouache on canvas, 51 1/4 x 114 1/2 inches
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‘Speak of the Devil’ Conjures the World of Twin Sisters Haylie and Sydnie Jimenez
by Aurelia Butler 8 August 2025, 17:36
Sydnie Jimenez, “Prima,” “Lil Shay,” “Big Tone,” “Cali Girl,” and “Malice” (from left). All images courtesy of Joy Machine, shared with permission
‘Speak of the Devil’ Conjures the World of Twin Sisters Haylie and Sydnie Jimenez
August 8, 2025
ArtPartner
Joy Machine
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Joy Machine is thrilled to present Speak of the Devil, a joint exhibition of ceramic and mixed-media works by Chicago artists Haylie and Sydnie Jimenez. The exhibition runs from August 9 to September 20, 2025.
An expression of endearment and surprise, “speak of the devil” is about manifesting what one desires. The idiom connotes a strange, even magical ability to conjure someone’s presence with a mere mention. Simply say their name and wait for them to appear.
Haylie Jimenez, “In the grass with a flower” (2025), found table with grouted tiled image, 24 x 28 x 23 inches
For Haylie and Sydnie Jimenez, making art is also an act of conjuring. Twin sisters with parallel and sometimes collaborative practices, the artists work primarily in ceramics and share a similar aesthetic, one rooted in narrative and rich with tattoos, piercings, and a generally punk style. Where Sydnie focuses on three-dimensions and builds figurative sculptures and totemic heads, Haylie prefers to etch scenes into flat panels. Both artists act as world-builders, depicting their queer, Black and brown friends and neighbors embracing their chosen kin.
“These groups of people we call family and friends are the best of us and should be recognized as such,” the artists say. “We want to fully acknowledge our wonderful communities and depict them as they should be.”
The Jimenez sisters were raised in the South, first in Florida and then in Georgia, with a Catholic mother. Born from religious fear, the phrase “speak of the devil” originated as a 17th-century superstition of summoning evil. The expression has since lost its sinister meaning, although a surface reading still elicits the diabolical.
This contradiction between a superficial interpretation and reality is one Haylie and Sydnie are endlessly interested in teasing out. They have lived in Chicago for nearly a decade and have found commonality between their adopted city and the South: “both places that often get a bad rep but are so rich in culture, shared histories and positive aspects,” they say.
Sydnie Jimenez, “Curtain Hair Guardian” (2025), terracotta and oxide wash
Speak of the Devil invokes the cultural and social similarities between Chicago and the South. Centering people first and foremost, the artists highlight the vibrant communities that thrive in both regions. Architectural details like Sydnie’s gargoyle-esque sculptures and domestic items like Haylie’s lamps and inlay tables reference the very spaces necessary to establishing meaningful relationships and a community of care.
While celebrating their friends, family, and those who might become such in the future, the artists create a warm, welcoming environment–complete with custom-stenciled walls—that offers an alternative to both oppression and violence and enduring stereotypes proliferated through popular culture and the media. This is their own magical act of conjuring. By visualizing a world of radical acceptance, pleasure, and endless joy, the artists lay the foundation to make such a world appear.
Haylie Jimenez, “Lake Vibe” (2025), multiple glazed ceramic tiles, 25 x 18 inches
Haylie and Sydnie Jimenez, “Te Quiero Mucho” (2025), glazed terracotta, 11 x 12 inches
Sydnie Jimenez, “Jimenez Jersey” (2025), glazed stoneware and rhinestones, 39 x 14 x 6.5 inches
Detail of Sydnie Jimenez, “Jimenez Jersey” (2025), glazed stoneware and rhinestones, 39 x 14 x 6.5 inches
Haylie Jimenez, “Tangled Kudzu,” glazed ceramic tile, 7 x 8 inches
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Xanthe Summers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
by Aurelia Butler 7 August 2025, 16:00
“The Weary Weaver” (2024), glazed stoneware, 39.4 x 28.4 x 28.4 incjes. Photo by Southern Guild and Hayden Phipps. All images courtesy of Xanthe Summers, shared with permission
Xanthe Summers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
August 7, 2025
ArtCraftSocial Issues
Kate Mothes
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“Clay is an incredible medium to hold narrative,” says Xanthe Summers, who turns to the medium as a way to explore themes around domesticity, craft, and so-called “women’s work” like cleaning, mending, working with textiles, and caregiving. When it comes to clay, she says, “I think mostly I am invigorated by its ability to hold—to hold water, to hold function, to give shape, to carry stories, and to carry meaning.”
Currently based in London, Summers grew up in Zimbabwe, where she observed inequities within the social structure that mirror many places around the world, especially in terms of gendered labor within the domestic sphere that often goes largely unseen and unacknowledged.
“Common Threads” (2025), glazed stoneware, 23.6 x 21.7 x 21.7 inches
She explains that “many homes have cleaners and gardeners who exist within this ‘invisible’ framework: caring for children, cooking their meals, and sometimes traveling for hours—and their work is underpaid, undervalued, and considered unskilled.”
Summers taps into ceramics, especially the archetypal vessel motif, to join the ever-evolving continuum of the medium. Throughout millennia and across myriad distinct cultures, the earthen material has found endless applications in the home, industry, and art.
“Clay has the unique ability to cross the boundaries between functionality, art, craft, class, and culture, and because of this, it is a vital medium to hold stories about humankind,” she says. “I understand clay to be an archive for the stories of humans.”
The vessels often take on figurative proportions, standing tall on plinths and exhibiting saturated hues, bold patterns, and tactile textures. Some of the pieces crumple, especially toward the top, as if hit with something or caving under some invisible weight.
Installation view at Southern Guild, Cape Town. Photo courtesy of Southern Guild
The artist’s vessels tread the boundary between form and function and delve into another craft often associated with women’s labor: weaving. She describes how everything from the sheets we sleep on to the carpets we tread across to the clothes on our back can be “extrapolated to speak more broadly about domesticity, women’s work, and racialized spaces in Zimbabwe and the Global South.” She adds:
Weaving can be used as a wider metaphor for social cohesion—or lack thereof. This predicament is significant in Zimbabwe but is apparent the world over, where women’s work is undervalued.
Next year, Summers embarks on a trip to Guadalajara, Mexico, for a residency at Ceramica Suro, where she will learn from local ceramic artists, glassblowers, and weavers. And this October, you’ll be able to see her work at London’s 1-54, a fair dedicated to contemporary African art, which runs from October 16 to 19. Explore more on the artist’s website and Instagram.
“Woven Tales Stand Tall” (2022). Photo by Deniz Guzel
Detail of “Woven Tales Stand Tall.” Photo by Deniz Guzel
“By the Pricking of My Thumbs” (2025), glazed stoneware, 39.4 x 27.6 x 27.8 inches. Photo by Southern Guild and Hayden Phipps
“Working Class Femininity” (2023), glazed stoneware, 41 x 19.8 x 19.8 inches. Photo by Deniz Guzel
“Weaver’s Woe” (2024,), glazed stoneware, 22.4 x 19.7 x 19.7 inches. Photo by Deniz Guzel
“Of Woof and Woe” (2024), glazed stoneware, 43.3 x 25.3 x 25.3 inches. Photo by Southern Guild and Hayden Phipps
Xanthe Summers in her studio
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Xanthe Somers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
by Aurelia Butler 7 August 2025, 16:00
“The Weary Weaver” (2024), glazed stoneware, 39.4 x 28.4 x 28.4 incjes. Photo by Southern Guild and Hayden Phipps. All images courtesy of Xanthe Summers, shared with permission
Xanthe Somers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
August 7, 2025
ArtCraftSocial Issues
Kate Mothes
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“Clay is an incredible medium to hold narrative,” says Xanthe Somers, who turns to the medium as a way to explore themes around domesticity, craft, and so-called “women’s work” like cleaning, mending, working with textiles, and caregiving. When it comes to clay, she says, “I think mostly I am invigorated by its ability to hold—to hold water, to hold function, to give shape, to carry stories, and to carry meaning.”
Currently based in London, Somers grew up in Zimbabwe, where she observed inequities within the social structure that mirror many places around the world, especially in terms of gendered labor within the domestic sphere that often goes largely unseen and unacknowledged.
“Common Threads” (2025), glazed stoneware, 23.6 x 21.7 x 21.7 inches
She explains that “many homes have cleaners and gardeners who exist within this ‘invisible’ framework: caring for children, cooking their meals, and sometimes traveling for hours—and their work is underpaid, undervalued, and considered unskilled.”
Somers taps into ceramics, especially the archetypal vessel motif, to join the ever-evolving continuum of the medium. Throughout millennia and across myriad distinct cultures, the earthen material has found endless applications in the home, industry, and art.
“Clay has the unique ability to cross the boundaries between functionality, art, craft, class, and culture, and because of this, it is a vital medium to hold stories about humankind,” she says. “I understand clay to be an archive for the stories of humans.”
The vessels often take on figurative proportions, standing tall on plinths and exhibiting saturated hues, bold patterns, and tactile textures. Some of the pieces crumple, especially toward the top, as if hit with something or caving under some invisible weight.
Installation view at Southern Guild, Cape Town. Photo courtesy of Southern Guild
The artist’s vessels tread the boundary between form and function and delve into another craft often associated with women’s labor: weaving. She describes how everything from the sheets we sleep on to the carpets we tread across to the clothes on our back can be “extrapolated to speak more broadly about domesticity, women’s work, and racialized spaces in Zimbabwe and the Global South.” She adds:
Weaving can be used as a wider metaphor for social cohesion—or lack thereof. This predicament is significant in Zimbabwe but is apparent the world over, where women’s work is undervalued.
Next year, Somers embarks on a trip to Guadalajara, Mexico, for a residency at Ceramica Suro, where she will learn from local ceramic artists, glassblowers, and weavers. And this October, you’ll be able to see her work at London’s 1-54, a fair dedicated to contemporary African art, which runs from October 16 to 19. Explore more on the artist’s website and Instagram.
“Woven Tales Stand Tall” (2022). Photo by Deniz Guzel
Detail of “Woven Tales Stand Tall.” Photo by Deniz Guzel
“By the Pricking of My Thumbs” (2025), glazed stoneware, 39.4 x 27.6 x 27.8 inches. Photo by Southern Guild and Hayden Phipps
“Working Class Femininity” (2023), glazed stoneware, 41 x 19.8 x 19.8 inches. Photo by Deniz Guzel
“Weaver’s Woe” (2024,), glazed stoneware, 22.4 x 19.7 x 19.7 inches. Photo by Deniz Guzel
“Of Woof and Woe” (2024), glazed stoneware, 43.3 x 25.3 x 25.3 inches. Photo by Southern Guild and Hayden Phipps
Xanthe Summers in her studio
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Laser-Cut Steel Forms Radiate Ornate Patterns in Anila Quayyum Agha’s Immersive Installations
by Aurelia Butler 6 August 2025, 14:38
“A Beautiful Despair (Blue)” (2021), lacquered steel and halogen bulb, 60 x 60 x 60 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth. All images courtesy of Seattle Asian Art Museum, shared with permission
Laser-Cut Steel Forms Radiate Ornate Patterns in Anila Quayyum Agha’s Immersive Installations
August 6, 2025
Art
Kate Mothes
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Influenced by the ornate decor of Islamic mosaics and architecture, Anila Quayyum Agha creates large-scale installations that utilize the power of light and shadow to transform a room. Laser-cut steel structures, like her seminal work “Intersections,” take a simple cube as a starting point. The artist incises elaborate patterns from the surface, then situates a light inside, which casts shadows onto the surrounding walls.
Anila Quayyum Agha: Geometry of Light, which opens later this month at the Seattle Asian Art Museum, marks the first time the Pakistani-American artist’s work has been exhibited in the Pacific Northwest. Based in Indianapolis, she is known for exploring the ever-evolving relationships between cultural identity, gender, art, and spirituality.
“A Beautiful Despair (Blue)” (2021), lacquered steel and halogen bulb, 60 x 60 x 60 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Masterpiece Art Fair, London
“Through the use of light and color, the artist’s ornate designs have the ability to turn spaces into ethereal environments reminiscent of traditional sacred spaces through the use of lanterns or mashrabiya, wooden lattice screens that diffuse light, casting intricate shadows while allowing for the flow of air and creating intimacy,” the museum says.
Geometry of Light will include three of Agha’s space-transforming installations, plus a number of framed, mixed-media paper works. The exhibition runs from August 27 to April 19, 2026, and you can find more on the artist’s website and Instagram.
“This is Not a refuge! (2)” (2019), laser-cut, resin-coated aluminum and light bulb, 93 x 58 x 72 inches. Courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Columbia Museum, Columbia, North Carolina
“A Beautiful Despair (Blue)” (2021), lacquered steel and halogen bulb, 60 x 60 x 60 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
“Liminal Space” (2021), laser-cut and lacquered steel, 65 x 65 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
Detail of “Liminal Space” (2021). Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
“This is Not a refuge! (2)” (2019), laser-cut, resin-coated aluminum and light bulb, 93 x 58 x 72 inches. Courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Masterpiece Art Fair, London
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sculpture

Latest story

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

More stories

Steve Keister Conjures Mythological Creatures from Clay, Wood, and Cardboard

In ‘JUJU’s Castle,’ Jean Jullien Reinvents His Childhood Escapes

Donald Wasswa’s Delicate Wooden Creatures Emerge from a Speculative Future

Through Stacks of Laundry and Humble Vessels, Danym Kwon Cherishes the Mundane

‘Speak of the Devil’ Conjures the World of Twin Sisters Haylie and Sydnie Jimenez

Laser-Cut Steel Forms Radiate Ornate Patterns in Anila Quayyum Agha’s Immersive Installations

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