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Brandon Morris’ Spectral Fiberglass Gowns Conjure Fears of the Unknown
by Aurelia Butler 29 January 2025, 13:47
All images courtesy of Europa, shared with permission
Brandon Morris’ Spectral Fiberglass Gowns Conjure Fears of the Unknown
January 29, 2025
Art
Grace Ebert
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Wander into New York’s Europa, and you’ll encounter a spectral cast devoid of characters. Pale green gowns with ruffled hems, long sleeves, and empire waists haunt the gallery as they hunch and lean as if enlivened by an invisible force. Unsettling and intriguing, the translucent works wouldn’t be out of place in a ghostly horror film and are on view for Brandon Morris’s solo show, Actress.
Born in San Diego and based in New York, Morris is trained in dressmaking, which he applies to fiberglass for this body of work. Using an industrial sewing machine and mannequins, Morris sewed garments based on vintage children’s gowns from the Victorian era. Resin stiffens the clothing and allows each piece to retain its distinctive, upright shape.
“Ghost Dress 6” (2024), fiberglass, 32 x 27 x 51 inches
A statement about the exhibition shares that the hollow forms offer space to hold our fears and anxieties. Redolent of the supernatural mystery The Ring from 2002—itself adapted from the 1998 Japanese film Ringu—the uncanny dresses are unnerving because their gestures and poses are so similar to reality. As they float in the gallery, the garments’ curved backs and crooked shoulders are out of kilter and offer an air of discomfort.
As with the conventions of the horror genre, Morris’ works are unnerving in part because they leave us with questions: Who wore the garments, and where have they gone? Who, or what, left the dresses in this state? And, perhaps most timely, what insidious forces are hidden in plain sight?
Actress continues through February 9. Find more from Morris on Instagram.
“Ghost Dress 7” (2024), fiberglass, 37 x 37 x 55 inches
“Ghost Dress 2” (2024), fiberglass, 20 x 20 x 45 inches
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Through Ceramics, Stephanie Shih Considers the Disillusioning Price of Domestic Bliss
by Aurelia Butler 27 January 2025, 14:03
“Nuclear Family” (2024). Photo by Robert Bredvad courtesy of the artist and Alexander Berggruen, shared with permission
Through Ceramics, Stephanie Shih Considers the Disillusioning Price of Domestic Bliss
January 27, 2025
ArtSocial Issues
Jackie Andres
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Nothing says true love like arguing about who left the cap off the toothpaste, right? From a darkly comedic perspective, Stephanie Shih explores the multiple meanings of “domestic bliss” in a social landscape fraught with consumerism and clashing politics.
It all started with the 1998 self-help book, Divorce for Dummies. The sardonic humor of a goofy cartoon character exclamatorily holding up a finger offering counsel to one’s broken marriage—for the totally reasonable price of $19.99—was a catalyst for Shih’s interest in the capitalist absurdity that came with the divorce boom of the 1980s and ’90s.
“Chores” (2024). Photo by Robert Bredvad
Shifting social and cultural factors, such as the introduction of no-fault divorce laws and emergent waves of feminism, drastically impacted the outlook on divorce in America. Rising individualism, disillusionment with the idea of a nuclear family, and the reclamation of feminine independence all played a part in annulment rates doubling for those aged over 35.
In Shih’s solo exhibition aptly titled Domestic Bliss, the Brooklyn-based artist spotlights what the gallery, Alexander Berggruen, describes as “artifacts of a single household.” The array of objects evoke the reality of a time when materialism, distorted expectations, and self-loathing created a perfect storm.
A Thigh Master one likely ordered from QVC in the deep hours of night sits alone on a pedestal, epitomizing the ways in which consumer culture preyed upon insecurities, only to sell women the illusion of control. Prisoner of Desire rests face-down on an ironing board to hold one’s place as escapism is interrupted by the mediocrity of chores. TV dinners stack atop a glowing microwave to signify power dynamics, a substantial portion of Hungry Man reserved for the father and the smallest box reserved for the mother.
Expanding upon her previous domestic sculptures, each ceramic object evokes a sense of realism, thanks to the artist’s thoroughness. As the exhibition text explains, Shih “scoured eBay listings for photo references and exact dimensions of discontinued packaging in order to faithfully sculpt each object in its era-appropriate likeness.” A range of materials and techniques are then applied to each form, such as hand-painted underglaze, dyed resin, and even electrical elements like lighting. Every step of the way, the artist skillfully instills the mundane with liveliness.
Domestic Bliss is on view at Alexander Berggruen in New York City through February 26. Find much more on Shih’s Instagram and website.
“Dissolution” (2024). Photo by Robert Bredvad
Photo by Robert Bredvad
“Jagged Little Pill” (2024). Photo by Robert Bredvad
Installation of “Domestic Bliss” (2024). Photo by Dario Lasagni
“Happy Meal” (2024). Photo by Robert Bredvad
“Hot Pockets” (2024). Photo by Robert Bredvad
Installation of “Domestic Bliss” (2024). Photo by Dario Lasagni
Installation of “Domestic Bliss” (2024). Photo by Dario Lasagni
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Flowers and Butterflies Stitch Messages of Hope into Crumpled Metal and Corroded Barrels
by Aurelia Butler 24 January 2025, 18:48
Detail of “MEADOWS.” Photo by Ineta Armanavičiūtė. All images courtesy of Severija Inčirauskaitė, shared with permission
Flowers and Butterflies Stitch Messages of Hope into Crumpled Metal and Corroded Barrels
January 24, 2025
ArtSocial Issues
Kate Mothes
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On the sides of rusted barrels or crushed steel spheres, Lithuanian artist Severija Inčirauskaitė-Kriaunevičienė (previously) applies delicate reminders of resilience. Using cotton thread, the artist cross-stitches vibrant flowers and butterflies onto facets of corroded metal, merging materials that appear to have little in common.
Where metal is rough, strong, and utilitarian, embroidery is tender, soft, and decorative. Inčirauskaitė-Kriaunevičienė taps into these diametric characteristics in her continuing examination of war. A large metal ball titled “OFFSIDE,” for example, represents the world’s cumulative conflicts. “It is like a huge disaster with a small embroidered butterfly that is like a small, fragile sign of hope,” she says.
“Butterfly (Danaus plexippus)” (2023), metal and cotton thread. Photo by Modestas Ežerskis and Ineta Armanavičiūtė
The small nation of Belarus separates Lithuania from Ukraine, where the impacts of the ongoing Russian assault reverberate across the region. “The war is very close to us,” the artist tells Colossal, “so we can’t relax and just think about life.” Incorporating insects and blooms, steeped in symbolic references to compassion, generosity, and care, Inčirauskaitė-Kriaunevičienė suggests that despite humans’ destructive actions, hope perseveres.
Find more on the artist’s Instagram.
“Offside” (2024), metal, and cotton threads. Photo by Enrika Samulionytė
Detail of “Offside.” Photo by Enrika Samulionytė
“OFFSIDE” (2024)
“MEADOWS” (2023), metal barrels and cotton, 360 x 40 x 20 centimeters. Photo by Ineta Armanavičiūtė
Detail of “MEADOWS.” Photo by Ineta Armanavičiūtė
“Timeless Fragility” (2022), oil barrel lid and cross stitch, 60 centimeters diameter. Photo by Ineta Armanavičiūtė
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Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment
by Aurelia Butler 23 January 2025, 10:00
All images courtesy of Reen Barrera, shared with permission
Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment
January 23, 2025
Art
Kate Mothes
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Sporting colorful garments and richly patterned faces, Reen Barrera’s doll sculptures (previously) evoke an expressive, make-believe world. Often dressed in striped tops and hand-stitched hoods with animalistic ears, his imaginative Ohlala characters represent the universality of human emotions while emphasizing every individual’s unique qualities.
Barrera creates the sculptures from wood and patchwork textiles, and he also makes paintings depicting Ohlala figures in pensive moments or expressing a sense of empowerment. Find his work at Art Central Hong Kong in March, and see more on his website and Instagram.
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Asya Marakulina Sculpts Poignant Ceramic Portraits of Demolished Homes
by Aurelia Butler 22 January 2025, 12:33
All images courtesy of Asya Marakulina, shared with permission
Asya Marakulina Sculpts Poignant Ceramic Portraits of Demolished Homes
January 22, 2025
ArtSocial Issues
Kate Mothes
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Prior to the 20th century, apartment buildings and row houses were often built with shared walls between adjoining properties. Intrigued by these aging structures, Vienna-based artist Asya Marakulina began cataloging examples she first noticed on walks around her former home in St. Petersburg, Russia.
“Since houses in the 19th century were built without gaps between them, when one house is torn down, the neighboring house often bears traces of the demolished one,” Marakulina tells Colossal. These remnants of decor, plumbing, and other signs of human habitation form the basis of her ongoing ceramic series, There Was a Home.
When Marakulina moved to Vienna, she noticed a similar phenomenon in the remains of older buildings that had been demolished there, too. Fragments of floor still clung to the walls and the outlines of painted or papered rooms were suddenly—somewhat uncomfortably—external. The ease of a warm interior and its associated domesticity was upended.
“What touches and affects me the most in images of ruined houses are the traces of wallpaper, tiles, and children’s rooms, which suddenly become visible to the entire street,” the artist says, sharing that the sight evokes a deep sadness. “These spaces were never meant to be seen in such a way.”
Marakulina likens houses to the bodies of living organisms, imbued with emotions, memories, and layered histories. The ceramic cross-sections take on a portrait-like quality, capturing straightforward views of multistory edifices that are simultaneously immediate and intimate. “Maybe that’s why these images captivate me so much because a part of someone’s inner, domestic life is suddenly turned inside-out and put on public display,” she says.
The houses in There Was a Home are typically drawn from real buildings, photographs of which she captures herself or finds on the internet. Marakulina also considers the impacts of war and is profoundly moved by the current conflicts in Ukraine and the Middle East, where thousands of homes have been destroyed and their inhabitants killed or displaced. The half-standing homes simultaneously represent lives lost and the hope of one day being able to rebuild.
Rather than straightforward copies of the buildings she encounters, Marakulina takes liberties with wall colors, sometimes adding graffiti or words she sees on the streets or derives from the news. She scores the clay to create the textures of tile and concrete or delineate lintels and former doorways. The resulting reliefs become collage-like, merging locations and motifs.
If you’re in Belgium, you can see the artist’s work in Ceramic Brussels, which opens today and continues through January 26. In London, Marakulina created a site-specific installation for a solo show at The Smallest Gallery in Soho, which continues through mid-February, and later that month, she will exhibit with Vienna Collectors Club. Find more on the artist’s website and Instagram.
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Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical
by Aurelia Butler 21 January 2025, 18:00
“Fir Mignon” (2023), wood, epoxy clay, oil paint, 8.75 x 8.75 x 3 inches. All images courtesy of Joyce Lin, shared with permission
Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical
January 21, 2025
ArtDesign
Kate Mothes
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Whether enclosed in clear acrylic or seemingly sliced from a single tree, Joyce Lin’s sculptures examine themes of interconnectedness and the Anthropocene, which describes our planet’s most recent epoch and the way humans significantly impact its ecosystems and climate.
“I am both disturbed and captivated by the paradoxes of industrialized society,” Lin says in a statement, “where modes of production and disposal are often obscured to the public, yet people have more technology than ever to make their imagined worlds a reality.”
“Wood Chair in Fir” (2024), oil paint, epoxy clay, plywood, MDF, and wood, 16.5 x 16.25 x 34.75 inches
Lin’s uncanny pieces meld form and function, taking the recognizable shapes of furniture and food and transforming them into playful meditations on mass production and consumption. She often uses organic materials like wood, augmenting the surfaces with synthetic mediums like epoxy, resin, and oil paint to preserve their appearance in perpetuity. Some works, like the Wooden Chair series, are entirely composed of engineered materials.
“I love to dissect and understand things, and my works often feature objects—usually a chair—sliced open to expose an inner structure; to express an inner truth, so to speak,” Lin tells Colossal. She manipulates the structures extensively, blurring the reality of what she describes as the “insides” and the “outsides,” so the composition takes on a fantastical quality.
“I don’t think they’re so convincing when you really zoom in, so it’s interesting to see people assume they’re somehow grown or AI-generated, even though they take an incredible amount of manual labor and time to create,” Linn adds. “I often think about distortions in our perception of reality, (which is) probably why people keep sending me those is-it-cake videos.”
The artist is currently working toward a solo exhibition later this year at R & Company, and you can explore more on her website and Instagram.
“Exploded Chair” (2019), maple and acrylic, 16 x 16 x 35 inches
“Woodnanas” (2024) wood, steel, polyester resin, and epoxy clay
“Wood Chair in Ash” (2024), oil paint, epoxy clay, plywood, MDF, and wood. Beetles: epoxy, wire, 16.5 x 16.25 x 34.75 inches
Detail of “Wood Chair in Ash”
“Root Chair” (2023), found driftwood and walnut stain, 29 x 30 x 34 inches
“Wood Stool”
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The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character
by Aurelia Butler 16 January 2025, 20:41
“Housework Won’t Kill You, But Why Take a Chance” (2024), oil on canvas, 48 x 48 inches. All images courtesy of Stephen Morrison and Hashimoto Contemporary, shared with permission
The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character
January 16, 2025
Art
Kate Mothes
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To say that Stephen Morrison’s work is inspired by dogs would be an understatement. Through sculptural assemblages and paintings of puppy faces tucked in foliage or morphing from household items, Morrison evokes the timeless love for our pets.
“I think I’ve always been a bit of a hedonist and kind of set up to love the life of a dog, of doing whatever you want when you want to do it,” Morrison recently told Hyperallergic in an interview. “That’s why making work with dogs feels so natural because it’s deeply a part of my character.”
“Every Direction at Once” (2025), oil on panel, 20 x 16 inches
Morrison also draws inspiration from his beloved pit bull mix, Tilly, who was the ring bearer at his wedding and died three years ago. Her curious visage lives on in the artist’s idiosyncratic compositions, bringing expressive life to everything from birdhouses to table lamps.
In the artist’s forthcoming solo exhibition at Hashimoto Contemporary, Morrison continues to channel canine personalities in Dog Show #4: House Broken.
Trompe-l’œil paintings portray the supports on the backs of canvases, teeming with botanicals, stuffed animals, magazine clippings, and fruit. Likewise, a series of sculptures made from epoxy clay, resin, paper, and oil paint appear like assemblages of seemingly disparate items.
In “Clump Spirit #5 (Study),” for example, a puppy’s face emerges from the front of a violin hanging from a hook, and “Clump Spirit #1 (Living Room)” displays a happy dog on a TV screen, stacked high with other objects that also feature distinctive eyes and snouts. Everything appears in a state of joyful yet barely contained disarray.
“Clump Spirit #1 (Living Room)” (2024), television, silicone, textile, resin, and epoxy clay, 12 x 21 x 12 inches
“This show reflects on the chaotic messiness of home life, inspired by the lively and dysfunctional environment I grew up in,” Morrison says. “Our house was filled with dancing, yelling, slapdash crafting, and a constant swirl of half-finished projects. Amid all the noise, there was an odd harmony—moments where the chaos seemed to hum along just right, as if disorder itself had a rhythm.”
Dog Show #4: House Broken runs from January 18 to February 8 in New York City. Find more on the artist’s website and Instagram.
“Build a Little Birdhouse in Your Soul” (2024), oil on panel, 24 x 24 inches
“Clump Spirit #4 (Study)” (2025), epoxy clay, paper, resin, and oil paint, 26 x 10 x 5 1/2 inches
“The Council of Plastic Limbs” (2025), oil on panel, 24 x 36 inches
“Clump Spirit #3 (Bedroom)” (2025), epoxy clay and oil paint, 15 x 8 x 7 inches
“Thank You for Your Business” (2025), oil on panel, 48 x 36 inches
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At Ceramic Brussels, an Eclectic Array of Works Offers a State of the Medium
by Aurelia Butler 16 January 2025, 17:23
Eirik Falckner, Kiosken. All images courtesy of Ceramic Brussels, shared with permission
At Ceramic Brussels, an Eclectic Array of Works Offers a State of the Medium
January 16, 2025
ArtCraft
Grace Ebert
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From Nobuhito Nishigawara’s gilded drips to Andrés Anza’s spiny forms that could seemingly scuttle away at any moment, an eclectic array of works go on view this month for Ceramic Brussels.
In its second year, the annual gathering is the only international art fair devoted entirely to the medium. The 2025 edition will feature works by more than 200 artists around the globe, with a particular focus on contemporary Norwegian makers.
Andres Anza, Galleria Anna Marra
Spanning myriad aesthetics and processes, the fair presents a wide variety of approaches to and a sort of state of the medium. Some artists, like Eirik Falckner, push the boundaries of ceramic art even further by collaborating with bees to layer thick chunks of honeycomb atop a raw armature.
Find some works slated to be exhibited at the fair, which runs from January 23 to 26, below.
Nobuhito Nishigawara, Almine Rech
Marianne Huotari, Holster Burrows
Daphne de Gheldere, Spax Projects
Andres Anza, Galleria Anna Marra
Nellie Jonsson, QB Gallery
Nellie Jonsson, QB Gallery
Samuel Yal, Galerie Ariane C-Y
Laszlo Borsody, ACB Gallery
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sculpture

More stories

Brandon Morris’ Spectral Fiberglass Gowns Conjure Fears of the Unknown

Reen Barrera’s Expressive ‘Ohlala’ Characters Evoke Emotions and Empowerment

Uncanny Objects by Joyce Lin Blur Distinctions Between Reality and the Fantastical

The Dog Did It! Stephen Morrison’s Trompe-l’œils Brim with Canine Character

At Ceramic Brussels, an Eclectic Array of Works Offers a State of the Medium

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