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Architecture Converges with the Human Form in Antony Gormley’s ‘Body Buildings’
by Aurelia Butler 21 August 2025, 16:30
“Resting Place II” (2024) terracotta, 132 figures, dimensions variable. All images of ‘Body Buildings’ at Galleria Continua, Beijing, China 2024–25. Photos by Huang Shaoli. All images courtesy of the artist and Skira, shared with permission
Architecture Converges with the Human Form in Antony Gormley’s ‘Body Buildings’
August 21, 2025
ArtBooks
Kate Mothes
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In Edinburgh, along a stream known as the Water of Leith, six bronze figures known as “6 TIMES” stand amid the current and beside bridges, peering enigmatically down the urban waterway. Similarly, in Liverpool, “Another Place” comprises 100 life-size sculptures made from 17 molds that artist Antony Gormley (previously) took from his own body, installed permanently along Crosby Beach. In fact, the artist has dozens of permanent installations throughout the U.K. and all over the world, the majority of which interact with shorelines, parkland, and historic sites.
Gormley has long been fascinated by the relationship between humans, landscape, and the built environment. While many of his figurative sculptures retain natural, muscular curvatures and a true-to-life scale, he also ventures into abstract territory, incorporating cubist and brutalist elements into geometric, three-dimensional forms. In spite of their blockiness, which we associate with built structures of rigid materials like concrete and steel, his pieces are anything but soulless.
“Resting Place II”
Gormley’s recent solo exhibition, Body Buildings at Galleria Continua in Beijing, ran from November 2024 and April 2025 and forms the basis of a new monograph of the same title. Forthcoming from SKIRA, the volume is slated for release on October 7.
Using terracotta clay and iron for pieces like “Resting Place II” and “Buttress,” Gormley taps into materials often found in construction in the form of bricks or angular frameworks. He describes his approach as a means “to think and feel the body in this condition.” Whether arranged on the floor in various positions or leaning against walls, his figures are simultaneously independent of the architecture and indelibly connected to it. “Buttress,” for example, prompts us to inquire whether the wall is holding up the person or the other way around.
New scholarship published in Body Buildings by Hou Hanru and Stephen Greenblatt explores Gormley’s engagement with China over the course of the past three decades. And a photo essay by the artist traces his interactions with the region, sharing never-before-seen archival photographs that document a 1995 research trip, where he visited the phenomenal army of terracotta warriors in Qin Shi Huang’s tomb in Xi’an.
Pre-order your copy of Body Buildings on Bookshop, and explore more of Gormley’s work on his website.
“Buttress” (2023), cast iron, 176.8 x 54.5 x 67.2 centimeters
Detail of “Resting Place II”
“Shame” (2023), cast iron, 161.7 x 59 x 42.9 centimeters
Detail of “Resting Place II”
Detail of “Resting Place II”
Detail of “Resting Place II”
“Circuit” (2022), cast iron, 29.3 x 201.3 x 122.4 centimeters
Installation view of Detail of “Resting Place II”
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In Milwaukee, Four Artists Unravel Trauma to Move Toward Collective Wellness
by Aurelia Butler 21 August 2025, 14:04
Swoon, “Medea” (2017), wood, hand cut paper, laser cut paper, linoleum block print on paper, acrylic gouache, cardboard, lighting elements
In Milwaukee, Four Artists Unravel Trauma to Move Toward Collective Wellness
August 21, 2025
ArtColossalSocial Issues
Grace Ebert
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In a world riddled with injustice and predicated on privilege for the few at the expense of the many, what does it mean to be well? An exhibition opening Friday at the Haggerty Museum of Art in Milwaukee considers the effects of concealed trauma and the inextricable ties between personal health and collective wellness.
No One Knows All It Takes invites four artists—Bryana Bibbs, Raoul Deal, Maria Gaspar, and Swoon (previously)—who utilize art-making to grapple with complex emotions, imagine solutions to widespread problems, and share their stories and those of others. The timely exhibition, curated by Colossal, brings forth pressing issues like addiction, incarceration, immigration, and a lack of support for caregivers, conveyed through visually arresting works across media.
Bryana Bibbs, “1.25.24-1.26.24” (2024), handwoven Papa George hospital blanket, Papa George playing cards, gifted pants, 11.5 x 14.5 inches
No One Knows All It Takes opens with portraits by Deal, intimate renderings made through hours of conversations with the subjects. Paired with his wooden sculptures, the elaborate carvings explore the central role of immigration in American history and culture. Bibbs’ weavings and monotype prints—created while she cared for her dying grandparents with many of their belongings— follow as a sort of ghostly archive of what remains after death.
Swoon’s “Medea” fills the fourth gallery space, a deeply personal installation that the artist made, in part, to confront her mother’s lifelong struggle with addiction and mental illness. An exposed tarantula mother, portraits of Swoon’s own family, wooden windows, and audio elements layer personal artifacts with recurring motifs about intergenerational trauma.
The Wisconsin iteration of Gaspar’s Disappearance Jail series tucks into a smaller, more confined space at the end of the exhibition. Featuring images of 113 prisons, jails, and juvenile and immigrant detention facilities throughout the state, the project invites visitors to use hole punches to literally remove and obscure the carceral spaces. Because incarceration has historically been the only manner in which society addresses harm and trauma, Gaspar’s work tasks each person with the abolitionist exercise of imagining other possibilities.
Raoul Deal, “Trenzas” (2023), woodcut with deckled edge, 28 x 42 inches
The title, No One Knows All It Takes, came from a conversation with Bibbs, in which she described the emotional, mental, and physical toll of caring for her grandparents in their final months. Referencing the intersecting and multilayered effects of trauma, the phrase is also multivalent: it invokes the immense amount of energy needed to function while ill, the wide-reaching impacts of trauma on an individual’s life, and the social, political, and cultural costs of unaddressed issues.
No One Knows All It Takes will be on view from August 22 to December 20. The Haggerty Museum of Art is located at Marquette University in Milwaukee.
Maria Gaspar, Disappearance Jail series (detail), (2021-ongoing), hundreds of perforated archival Inkjet prints on rice paper, 5 x 7 inches each
Raoul Deal, “Immigration Series #8” (2013), woodcut, 40 x 26 1/4 inches
Swoon, “Medea” (2017), wood, hand cut paper, laser cut paper, linoleum block print on paper, acrylic gouache, cardboard, lighting elements
Bryana Bibbs, “12.27.23” (2023), handwoven Papa George casino playing cards, Papa George hospital blanket, 14 x 9.25 inches
Bryana Bibbs, “8.26.24” (2024), handwoven Papa George athletic tee, Papa George gifted pajama pants, Mema decor flowers, 25 x 9 inches
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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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More stories

Architecture Converges with the Human Form in Antony Gormley’s ‘Body Buildings’

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

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

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