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Thriving Habitats by Stéphanie Kilgast Emerge from Plastic Bottles and Recycled Objects
by Aurelia Butler 23 October 2024, 16:30
“Fitting In (Decorator Crab)” (2024), mixed media on thrifted jewelry box, 8 x 6.75 x 7 inches. All images courtesy of Arch Enemy Arts, shared with permission
Thriving Habitats by Stéphanie Kilgast Emerge from Plastic Bottles and Recycled Objects
October 23, 2024
ArtClimate
Kate Mothes
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From crunched, single-use containers to thrifted boxes and repurposed clocks, Stéphanie Kilgast (previously) devises unique habitats for a wide range of creatures. Fungi takes root along the sides of a green bottle as a beetle crawls over the cap in “Weevil Wander,” for example, and a violet owl alights on the top of a pair of binoculars.
Kilgast’s solo exhibition, LUSCIOUS LEGACY at Arch Enemy Arts, continues the artist’s interest in highlighting the human impact on the environment and the increasingly grim consequences of the climate crisis. Rather than focusing on the darker reality, she adopts an optimistic view of nature’s resilience.
“Weevil Wander” (2024), mixed media on plastic bottle, 6 x 5 x 7.75 inches
“My work touches very contrasting emotions: the joy of color and natural beauty but also the sadness and despair of where we are headed,” Kilgast says. She hopes to aid us in questioning mass consumerism and its resulting trash, which continues to threaten delicate ecosystems worldwide, and adds, “The world is beautiful. It is worth fighting for.”
LUSCIOUS LEGACY runs through October 27 in Philadelphia. Find more on the artist’s website and Instagram.
“Chi Va Piano” (2024), mixed media on reclaimed clock, 6 x 3 x 4.25 inches
Detail of “Chi Va Piano”
“Stare (Eurasian Eagle Owl)” (2024), mixed media on reclaimed binoculars, 3.5 x 5 x 9.75 inches
Detail of “Weevil Wanderer”
“Glacier” (2024), mixed media on plastic bottle, 4 x 4.25 x 8.75 inches
“Bloom” (2024), mixed media on plastic bottle, 6.75 x 7.75 x 9.75 inches
“Luscious Legacy” (2024), mixed media on milk carton, 7.75 x 3 x 8.75 inches
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From Computer Keys and Bottle Caps, Moffat Takadiwa’s Tapestries Collapse Geographies
by Aurelia Butler 23 October 2024, 13:32
“Age of Exploration” (2024), computer keys and toothbrush head in plastic, 43 5/16 × 94 1/2 × 1 15/16 inches
From Computer Keys and Bottle Caps, Moffat Takadiwa’s Tapestries Collapse Geographies
October 23, 2024
ArtSocial Issues
Kate Mothes
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For the past ten years, Moffat Takadiwa has collected discarded computer keyboards, toothbrushes, pens, and bottle caps among numerous other objects. He conceives of sweeping, abstract forms that from a distance emphasize curving, organic forms and pops of color. Up close, the pieces reveal deconstructed, everyday items bound into expansive tapestries.
Based in Mbare, a working-class suburb of Harare, Zimbabwe, Takadiwa taps into the city’s informal economy of recycling and reselling the vast quantities of second-hand electronics and plastics imported from Europe.
Detail of “Age of Exploration”
Since the late 20th century, artists like El Anatsui, Ifeoma U. Anyaeji, and Takadiwa have comprised a dynamic movement of African artists who work exclusively with recycled or repurposed materials.
In his solo exhibition, The Reverse Deal at Semiose, the artist continues his exploration of the legacy of colonialism, geography and global trade, and the visual potential of language. The title reads like a trade agreement, nodding to historical economic and political maneuvers by European nations to control the flow of goods through colonized African regions.
The computer keys represent what the artist describes as a decolonized vocabulary, connecting the present to the past while addressing the nature of interdependent communities around the world.
“Moffat Takadiwa’s works are akin to algorithms relentlessly producing variants of the same narrative,” says curator N’Gonné Fall in the exhibition statement.
“Yellow for Gold” (2024), toothbrush heads, belt buckles, and computer keys, 92 15/16 × 74 7/16 × 3 15/16 inches
The artist consistently returns to the motif of the circle, invoking a symbol of infinity and a universal form found in everyday objects. The shape also mirrors of the outline of Great Zimbabwe, the medieval capital of a kingdom that spanned present-day Zimbabwe and Mozambique.
He is fascinated by the role of waterways as transport routes for goods, both historically and today, and the way vestiges of colonialism continue to impact contemporary society.
The Reverse Deal in Paris through November 16. Takadiwa is also represented by Nicodim, where you can explore more of his large-scale works, and find more on the artist’s Instagram.
“Belt re-simbi/metal belt” (2024), plastic computer and calculator keys and belt buckles, 57 1/16 × 143 11/16 × 5 7/8 inches
Installation view of ‘The Reverse Deal’ at Semiose, Paris
“White Circle” (2023), computer keys in plastic, 69 11/16 × 69 11/16 inches
“The tobacco farms” (2024), computer and calculator keys, bottle tops, and toothbrushes in plastic, 78 3/4 × 57 1/16 × 1 15/16 inches
“White toothpaste b” (2024), tubes of toothpaste, defunct bank notes, and metal belt buckles, 21 5/8 × 19 11/16 × 19 11/16 inches
Installation view of ‘The Reverse Deal’ at Semiose, Paris
Detail of “KoreKore Handwriting III” (2023), computer keys and toothbrush heads in plastic, 100 13/16 × 67 11/16 inches
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Peels and Folds Soften José Manuel Castro López’s Fleshy Stone Sculptures
by Aurelia Butler 22 October 2024, 16:08
Untitled (2017), granite, 26 x 18 x 11 inches. Image courtesy of the artist and Cadogan Gallery, shared with permission
Peels and Folds Soften José Manuel Castro López’s Fleshy Stone Sculptures
October 22, 2024
Art
Kate Mothes
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Delicately peeled skin and supple folds appear where we’d least expect them in José Manuel Castro López’s stone sculptures (previously). From small boulders of granite and quartz found near his home in A Coruña, Spain, the artist carves and polishes delicate wrinkles that suggest fabric or the malleability of smashed, wet clay. For example, “Recorte de Piel,” or “Skin Peeling,” resembles an angular slice of potato skin carefully pulled away.
A few works shown here are part of López’s exhibition at Cadogan Solo in Milan, which continues through October 31. Keep an eye on his Instagram for updates.
“Dedo de Dios” (2023), granite, 13 x 9 x 4 inches. Image courtesy of Cadogan Gallery
“Recorte de Piel” (2021), granite, 15 x 12 x 5 inches. Image courtesy of Cadogan Gallery
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From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line
by Aurelia Butler 21 October 2024, 18:37
“Dinosaur.” All photos by Timothy Schneck, courtesy of the High Line, shared with permission
From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line
October 21, 2024
ArtNature
Grace Ebert
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The latest sculpture to grace New York City’s High Line is a monumental tribute to an unlikely creature.
Perched above 10th Avenue, a hyper-realistic pigeon stops to rest in the outdoor pavilion. The work of artist Iván Argote (previously), the hand-painted, aluminum bird is titled “Dinosaur” and looms 21 feet in the air, rivaling the enormous proportions of some of its ancestors.
Argote is known for questioning the role of monuments and statues, particularly as they relate to colonial histories and power imbalances. For this work, he upends the human-animal relationship and notions of migration and value as the common street bird is vaulted into a glorified figure, peering down on pedestrians and drivers. The artist says in a statement:
The name “Dinosaur” makes reference to the sculpture’s scale and to the pigeon’s ancestors who millions of years ago dominated the globe, as we humans do today… the name also serves as a reference to the dinosaur’s extinction. Like them, one day we won’t be around anymore, but perhaps a remnant of humanity will live on—as pigeons do—in the dark corners and gaps of future worlds.
Despite their ubiquity throughout North American cities, pigeons aren’t native to the continent. The birds were initially brought from Europe as a barnyard animal and food source, but as they escaped into the wild, they grew into the scavenging flocks they are today. No longer domesticated and not quite wild, pigeons occupy a unique position.
Argote’s work is a cheeky nod to the birds and suggests they’re more deserving of appreciation than some of the figures we’ve collectively honored in the past. Standing tall and confident atop a concrete plinth, the sculpture also serves as a reminder that “everyone is an immigrant,” a statement says. “Even the pigeon, a New York fixture, initially migrated here and made the city their home, like millions of other ‘native’ New Yorkers.”
“Dinosaur” will be on view through spring. Find more from Argote on Instagram.
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From Gossamer Objects to Monumental Architecture, Do Ho Suh Embraces the Process
by Aurelia Butler 18 October 2024, 16:30
Photo by Anthony Rathbun. All images courtesy of Moody Center for the Arts, shared with permission
From Gossamer Objects to Monumental Architecture, Do Ho Suh Embraces the Process
October 18, 2024
Art
Grace Ebert
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For Do Ho Suh, the process of making work is as important as the outcome. Individual sculptures and installations are all part of a larger project that allows the South Korean artist to return to and iterate on earlier ideas, materials, and structures, each time pushing the work in a different direction.
At Moody Center for the Arts, Suh puts his process on full display, recreating parts of his studio and charting the course for his sprawling practice in which he explores ideas of home, memory, and how we relate to physical space. Rubbermaids full of string and fabric, shelves lined with toy dinosaurs and action figures, and small maquettes of architectural sculptures offer insight into Suh’s influences and creative exercises, while completed projects reveal the final steps.
Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun
Included in In Process are several fundamental works like “Inverted Monument,” which suspends an upside-down figure in a dense mesh of string. Also on view is a collection of fabric sculptures that recreate everyday objects like water faucets, doorknobs, and keyholes in gauzy, translucent fabric. Arranged by color, these delicate pieces draw attention to our attachments to and reliance on such mundane items.
Part of exposing the inner workings of his process also involves what Suh refers to as “dismantling the myth of the artist as an individual genius.” Ongoing in various forms since 2016, “Artland” is a vibrant landscape that welcomes various groups—first Suh’s daughters, followed by communities across several continents—to add bits of malleable clay to the otherworldly terrain.
Detail of “Artland”
“For me, ‘Artland’ is an extension of so much of my practice,” the artist told Colossal, adding:
When I had children, I had to let go of a lot of the control I was used to having in my life. Nothing’s wilder or freer than the child’s mind, and I’ve learnt so much from parenting. “Artland” grew from that small-scale family collaboration, but it’s been so validating involving visitors from Seoul to Brooklyn and Houston—the results are always more fantastical than expected and completely joyous.
If you’re in Houston, see In Process through December 21. Otherwise, find more from the artist via Lehmann Maupin and Instagram.
Installation view of ‘Do Ho Suh: In Process.’ Photo by Frank Hernandez
Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun
Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun
“Artland.” Photo by Anthony Rathbun
Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun
Photo by Anthony Rathbun
Installation view of ‘Do Ho Suh: In Process.’ Photo by Frank Hernandez
Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun
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Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles
by Aurelia Butler 17 October 2024, 21:04
All photos by Ahina, courtesy of the artist and Real DMZ Project, shared with permission
Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles
October 17, 2024
ArtCraftNature
Grace Ebert
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If a white crane were to choose a pair of boots, would he gravitate toward knee-high lace-ups or balance his talons in yellow tabi stilettos?
Young In Hong fashioned a collection of shoes with these long-legged birds in mind. Titled “White Cranes and Snowfall,” the playful sculptures are made from woven sedges and nested in a shallow field of pebbles, intertwining references to avian life and endangered craft traditions.
Based in Bristol, Hong visited Korea in the winter of 2023 and witnessed a flock of rare cranes migrating to the demilitarized zone dividing the peninsula. “The once blood-stained DMZ has now become an ecological paradise for the cranes,” she shares. “When nature is left alone it can replenish its lives, and when we as humans observe other species more carefully, we can learn something from them that alters our way of being in the world.”
Researchers estimate that in the seven decades since the zone was established, about “1,200 plant species, 83 fish varieties, 51 different mammals, and numerous birds, insects, and microorganisms” have thrived in the area, many of which were previously endangered or threatened.
Observing the birds inspired the latest series in Hong’s growing collection of avian footwear. Each references jipsin, flat sandals woven from straw and largely worn by farmers and the working class throughout Korea. Affordable and widely available, the shoes would wear down quickly—a long day’s walk could burn through a pair—and people across the socioeconomic order knew how to make them. Straw is biodegradable, too, making jipsin naturally sustainable.
To learn the craft practiced for generations, Hong began working with Choong Kyung Lee, a straw-weaving master from Asan in 2021. Together, they created numerous projects, including shoes fit for a baby elephant, giraffe, kangaroo, heron, gorilla, and bear. “For me, the collaboration with Lee was a journey to open up my eyes towards natural fibre weaving, a part of the history of Korea that has not been thoroughly written about,” Hong shared.
For “White Cranes and Snowfall,” the artist pulled out specific personalities to inspire each design rather than thinking of the birds as anonymous entities. Displayed together, the sculptures become a stand-in for community and gathering—and perhaps a cheeky and yet urgent plea to imagine oneself in another’s shoes, even if those shoes belong to another species. The artist adds:
For me, fictionalising the collective white cranes, and visualising them through humorously designed shoes, is to remind us of the fact that birds are like us, expressing tastes and preferences, also by having individually different characters and personalities.
“White Cranes and Snowfall” is on view through November 7 at Secession in Vienna. Two of Hong’s textile works are also on view this month as part of the 7th Changwon Sculpture Biennale, and she’s currently preparing for two solo shows, one opening at Art Sonje Center in May and another at PKM Gallery in September. Peruse an archive of her works on her website and Instagram.
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Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space
by Aurelia Butler 16 October 2024, 21:00
“Toy Garden 1” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, sealed acrylic vitrine, and stainless steel, 20 x 20 x 20 centimeters. All images courtesy of Ant Hamlyn, shared with permission
Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space
October 16, 2024
Art
Kate Mothes
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Encased in transparent cubes and smushed behind panes of acrylic, Ant Hamlyn’s (previously) brilliant blooms and verdant stems are perpetually preserved. Polyurethane-coated fabrics, which he hand-sews and then stuffs, shape a cartoonish view of our predilection to try to harness and preserve things of beauty.
Often focusing on bright botanicals and fungi, Hamlyn’s playful sculptures crush fabric flowers into cases secured with wing nuts or locked with soft padlocks. Captive blossoms, leaves, and terracotta pots appear just barely contained but with no means of escape.
“Vase 4” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters
Two ongoing series, Vases and Toy Garden, examine the relationship between hard and soft, synthetic and organic, and fragility and play. Mashed up against their enclosures, the blooms appear incredibly uncomfortable while also exuding brightness and cheer.
Explore more of the artist’s work on his website and Instagram.
Selection from the series Toy Garden
“Vase 2” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters
“Vase 6” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters
“Vase 3” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters
“Toy Garden 5” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, sealed acrylic vitrine, and stainless steel, 20 x 20 x 20 centimeters
Detail of “Vase 6”
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Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures
by Aurelia Butler 16 October 2024, 15:33
Photo by Ign Raditya Bramantya. All images courtesy of Mulyana and Sapar Contemporary, shared with permission
Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures
October 16, 2024
ArtClimatePhotography
Kate Mothes
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From thousands of plastic bags, nets, and hanks of yarn, Indonesian artist Mulyana (previously) illuminates the fragility of marine ecosystems.
In his solo exhibition Remembering Our Collective Future at Sapar Contemporary, the artist has incorporated recyclable materials and distilled the palette to white, evoking a symbol of purity and drawing attention to the consequences of human impact on our oceans, such as coral bleaching.
“Betty 21” (2024), plastic yarn, plastic net, and cable wire, 82 5/8 x 76 3/4 x 13 3/4 inches
Curated by John Silvis, the show invites viewers to reflect on the effects of the climate crisis and the critical importance of environmental preservation. Photographs by Ign Raditya Bramantya highlight a living, breathing embodiment of coral as it traverses the city streets, bringing the ocean to daily life.
Mulyana painstakingly twists, knots, and wraps plastic netting, cable wire, and plastic yarn into sculptures and wall hangings resembling coral and cartoonish sea creatures.
Running concurrently at the Charles B. Wang Center at SUNY Stony Brook, an exhibition of the artist’s vibrant yarn works showcases costumes and characters inspired by marine life. Yarnscapes: Mulyana’s Environmental Tapestries presents a playful counterpoint to the monochrome pieces, nevertheless urging us to remember and evaluate our relationship to our oceans.
Remembering Our Collective Future runs from October 22 to November 20 in New York City, coinciding with Yarnscapes in Stony Brook through December 10. Find more on the artist’s website and Instagram.
Photo by Ign Raditya Bramantya
Photo by Ign Raditya Bramantya
Detail of “Betty 25” (2024), plastic yarn, plastic net, and cable wire, 74 3/4 x 78 3/4 x 13 3/4 inches
“Betty 28” (2024), plastic yarn, plastic net, and cable wire, 86 5/8 x 86 5/8 x 13 3/4 inches
Photo by Ign Raditya Bramantya
Detail of “Betty 26” (2024), plastic yarn, plastic net, and cable wire, 65 x 51 1/8 x 13 3/4 inches
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sculpture

More stories

Thriving Habitats by Stéphanie Kilgast Emerge from Plastic Bottles and Recycled Objects

Peels and Folds Soften José Manuel Castro López’s Fleshy Stone Sculptures

From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line

From Gossamer Objects to Monumental Architecture, Do Ho Suh Embraces the Process

Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles

Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space

Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures

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