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      Detroit’s Heidelberg Project in Wisconsin? Tyree Guyton Transports His Magic

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      ‘Heidelbergology: Is It Art Now?’ installation
      view (2025). All images courtesy of the artist and the John Michael Kohler Arts Center, shared with permission

      Detroit’s Heidelberg Project in Wisconsin? Tyree Guyton Transports His Magic

      September 29, 2025

      Art

      Grace Ebert

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      If you were to have visited the 3600 Block of Heidelberg Street in Detroit around 1986, you would have likely encountered a young artist beginning the project of a lifetime. Found object assemblages and painted patterns were quickly transforming a neighborhood that had experienced mass disinvestment, turning grassy lots and abandoned homes into an enclave of creativity.

      Soon, an immersive, vernacular art environment emerged and was at once an amalgamation of everyday materials and what seemed to be a mystical translation from another realm. The creator behind the sprawling installation—which continues today—is artist Tyree Guyton, who dubbed what would become his most famous work in his home neighborhood of McDougall Hunt, The Heidelberg Project.

      Site view of ‘The Heidelberg Project’ (1986–ongoing)

      Spanning nearly four decades and several blocks, the ever-evolving environment has become a destination for tourists and locals alike as Guyton’s spiritual philosophies reach every inch of the property. There’s the iconic polka-dot house, another covered in long paintings of shoes, a collection of portraits on car hoods, and countless sculptures and assemblages that seem to take on a life of their own. Because the works are exposed to the elements, maintenance and upcycling occur regularly at the project, as the artist adds to an existing piece or transforms materials anew.

      Several of Guyton’s standalone works are on view at the John Michael Kohler Arts Center in Sheboygan, Wisconsin. A large-scale presentation of the artist’s decades-long outdoor and studio projects, Heidelbergology: Is It Art Now? is rooted in what the museum describes as “the study of discarded material incorporated into the fabric and structure of a community and the effects on the community.”

      Guyton, on the other hand, is much more abstract, offering the following in a phone conversation from Detroit. “That’s what this show is about, magic. Two plus two equals eight, Heidelbergology…There are people there that have not been here, and I came there to give them a reason to come. It’s an invitation.”

      While exhibiting in a traditional white-cube gallery space, Guyton brings his community focus to Sheboygan. He invited locals to paint his beloved polka dots on the walls, providing a vivid and expressive backdrop for his expansive works. Looming in the entrance is Guyton’s version of Noah’s Ark, composed of crowd-sourced stuffed animals and children’s toys piled high atop a painted fishing boat.

      “Auto World” (1998), mixed media and paint

      Guyton makes an explicit connection to the divine—and Yahweh, in particular—throughout the exhibition and his work, more broadly. He considers The Heidelberg Project to be both a mirror to society and also a conduit to a higher power, one whose messages he translates and shares with anyone who might encounter the work.

      “What I see happening in the world? I put it on those TV sets, put it in a museum, turn it into works of art, to give it back to the public and to say to them, look at what’s happening,” he says. “Like, can we see it? I see it through me.”

      The exhibition also nods to the artist’s own history and his grandfather, Sam Mackey, who first introduced Guyton to art as a child. A collection of Mackey’s drawings made at the end of his life is suspended in a house-shaped structure at the center of the museum. These familial works aren’t typically on view in Detroit and offer special, often-unseen insight into the artist’s background.

      As Guyton and the project’s team prepare for the future, they intend to transfer The Heidelberg Project to the community, who they hope will steward the enormous effort and further invest in the neighborhood. “I’m here to do something that when I die, it’s going to live on,” the artist says. “I believe that what I have done here is so philosophical, it’s teaching me, and I love making mistakes.”

      Site view of ‘The Heidelberg Project’ (1986–ongoing)

      While hoping to secure support for the project, Guyton isn’t precious about his work and easily embraces change. When the exhibition in Sheboygan wraps, for example, the sculptures and paintings that have been so meticulously cared for in a museum setting will be returned outdoors, although they might find themselves in a new spot if the artist filled the previous location with something new.

      In this way, The Heidelberg Project is always in motion, presenting new messages for Guyton to learn and share through a graffiti-covered television set or a collaged work on panel. When asked how he feels a piece is complete, he answers clearly: “My work is finished when I’m dead.”

      See Heidelbergology: Is It Art Now? through February 15, 2026. And while you’re in the area, be sure to check out the truly impeccable environments at the Art Preserve just a few miles away. You can find more about the project on the website and Instagram.

      ‘Heidelbergology: Is It Art Now?’ installation view (2025)

      ‘Heidelbergology: Is It Art Now?’ installation view (2025)

      ‘Heidelbergology: Is It Art Now?’ installation view (2025)

      Site view of ‘The Heidelberg Project’ (1986–ongoing)

      Site view of ‘The Heidelberg Project’ (1986–ongoing)

      Site view of ‘The Heidelberg Project’ (1986–ongoing)

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      Vernacular Architecture and Mossy Trees Fill Michael Davydov’s Tiny Worlds

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      All images courtesy of Michael Davydov, shared with permission

      Vernacular Architecture and Mossy Trees Fill Michael Davydov’s Tiny Worlds

      September 24, 2025

      ArtCraft

      Kate Mothes

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      In the miniature world of Michael Davydov, tiny houses, moons, trees, and barns balance precariously in clusters and stacks. Observing the architecture and flora around his home in the Nizhny Novgorod region of Russia, he taught himself how to draw and eventually began assembling small sculptures.

      The hobby quickly morphed into a passion for creating miniature realms in which diminutive structures jumble, float, and balance on one another, sometimes complemented by moss and slender coniferous trees. Inspired by the vernacular of northern climes, his houses resemble the small, stilted structures one might encounter in coastal villages in Greenland, for example, or the traditional timber dwellings of Russian farmsteads.

      Davydov often encases his scenes in glass, using domes or vials that lend the impression of delicate specimens being collected and preserved. Like folkloric fairy houses nestled in the woods, one can almost imagine wandering through a mossy forest and stumbling upon one of these tiny, enigmatic settlements.

      Explore more on the artist’s website.

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      Raul De Lara’s Whimsical Wooden Sculptures Defy Borders

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      “Cavale II” (2023), walnut, cedar, hemu,
      Hermés saddle, horsehair, lacquer, pigment, and
      urethane, 50 x 64 x 19 inches. All images © Raul De Lara, shared with permission

      Raul De Lara’s Whimsical Wooden Sculptures Defy Borders

      September 23, 2025

      ArtSocial Issues

      Grace Ebert

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      Why can plants be considered native to more than one nation while people can’t? This line of inquiry grounds a large-scale exhibition by Raul De Lara in which he presents his surreal sculptures that merge flora and furnishings.

      HOST, on view now at The Contemporary Austin, brings together a collection of works that call into question belonging and identity and rejects the idea that state borders are fixed and natural. Using wood endemic to Texas and Mexico, De Lara sculpts potted monsteras sprouting from chains, a schooldesk covered in long spines, and a cactus disguised as a child’s rocking horse.

      The resulting pieces translate what should be a common object—a shovel, for example, or an enormous cluster of daisies in a vase—into the strange and uncanny. Many works are also rendered unusable, including a spiked ladder even the bravest among us would hesitate to climb.

      Detail of “Wilt” (2022), walnut, pine, red oak, urethane, pigment, and polyurethane, 125 x 25 1/4 x 45 inches

      Now based in Ridgewood, Queens, De Lara grew up near Austin as a child of Mexican immigrants. He first learned woodoworking in his family’s shop, which he describes as “a world where each tool has its own language, each piece of wood shows the passing of time on its skin, and where one is able to communicate through their hands.” A strong belief in animism, luck, and the paranormal pervaded this sacred space and taught the budding artist that he could harness the energy of a particular material to create beautiful objects.

      Today, he sees woodworking as a mode of storytelling, one in which magical realism flourishes. “I welcome the idea that artworks can hold their own spark of life and extend it to us,” De Lara says, adding:

      When I make my work, I remember childhood memories of when I would see local carvers turn branches into saints. I always wondered at what point inthe carving process does the ghost enters that piece of wood. I strive to make works that invite a certain kind of trust and acceptance from the viewer, that let them live without our realm.

      As global concerns about immigration and human rights intensify, De Lara’s work is all the more relevant. The artist has DACA status and knows firsthand the precarity and swift change that comes with a new administration.

      “Lotion In Your Lungs” (2019), pine, oak, wood glue, sand from Mexico/US border, acrylic, andlacquer, 72 x 24 x 50 inches

      His sculptures capture a sense of whimsy and play that might seem in opposition to this reality, but for De Lara, woodworking, and traditional craft more broadly, is a superpower. “It cannot be taken away from you as it is not tied to location, politics, or laws. You carry it with you and can practice anywhere, with anyone, and oftentimes, it disarms differences amongst us,” he says.

      See HOST through January 11, 2026. Keep up with De Lara’s work on Instagram.

      “For Being Left-Handed” (2020), pine, Chiclets gum, acrylic, brass, steel, and particle board, 24 x 13 x 13 inches

      Installation view of ‘HOST: Raul De Lara’ at The Contemporary Austin (2025). Photo by Alex Boeschenstein

      Detail of “For Being Left-Handed” (2020), pine, Chiclets gum, acrylic, brass, steel, and particle board, 24 x 13 x 13 inches

      “20 Years Later / 20 Años Después” (2024), walnut, ash, steel, Polyx-wax, and polyurethane, 39 x 8 x 5 inches

      “Familia” (2024), walnut, Polyx-wax, and polyurethane, 40 x 41 x 26 inches

      De Lara with “La Escalera”

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      ‘Companions’ Celebrates Our Animal Friends and Colleagues

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      Misato Sano, “なるほど！ /  Oh, I see!” (2025), camphor wood and oil paint

      ‘Companions’ Celebrates Our Animal Friends and Colleagues

      September 22, 2025

      ArtPartner

      Joy Machine

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      “Play between humans and pets, as well as simply spending time peaceably hanging out together, brings joy to all the participants. Surely that is one important meaning of companion species.” –Donna Haraway, ‘Companion Species Manifesto‘

      Companions is a group exhibition celebrating our closest animal friends and colleagues. Featuring works across media by Lola Dupre, Debra Broz, Roberto Benavidez, Misato Sano, William Mophos, and Nicolas V. Sanchez, this show revels in the ways we share our lives with non-human species.

      Debra Broz, “Horse Boxer” and “Boxer Horse” (2025), secondhand ceramic figurines and mixed media

      Each artist translates their furry and feathered subjects in a distinctively human way: Dupre and Broz distort any realistic likeness in favor of surreal, exaggerated amalgamations, while Benavidez translates a small kitten into the celebratory form of a piñata. Sano similarly gouges small pieces of camphor wood to carve a range of expressive pups, which she then paints in oils.

      Although their renderings take a more realistic approach, Sanchez and Mophos utilize substrates embedded within human life, the former gravitating toward the blank pages of a sketchbook and the latter scouring the streets of São Paulo for architectural remnants that become small jagged canvases.

      In this way, these artists present companionship as a bridge between nature and culture. They see their companions as being both of their own making–in that any relationship is influenced and created by both parties– and as independent beings with big personalities all their own.

      Companions opens on September 27, 2025. RSVP to our opening reception from 6 to 8 p.m. on Saturday.

      Roberto Benavidez, “Medieval Kitten” (2025), paper, paperboard, wire, glue, crepe paper, fallen cat whiskers, 5.5 x 6 x 3 inches

      Lola Dupre, “Geordi” (2025), paper collage, 12 x 16 inches

      William Mophos, “Tom Tom” (2025), acrylic painting on wall fragments in an acrylic frame with cement board backing, 16.6 x 21 x 7.5 centimeters

      Nicolas V. Sanchez, “Mariana with lambs” (2018), color ballpoint pen on paper, 5.5 x 10.5 inches

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      Stéphanie Kilgast’s Book ‘Utopia’ Chronicles Ten Years of Vibrant, Post-Apocalyptic Sculptures

      by

      “LoFi Girl” (2024). All images courtesy of the artist, shared with permission

      Stéphanie Kilgast’s Book ‘Utopia’ Chronicles Ten Years of Vibrant, Post-Apocalyptic Sculptures

      September 22, 2025

      ArtBooksNature

      Kate Mothes

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      In Stéphanie Kilgast’s vibrant yet poignant pieces, a speculative future without humans gives rise to unusual relationships. “In my artwork, humanity is absent, leaving behind its legacy of objects, buildings, and trash,” the artist says. She continues:

      Flora and fauna are taking over. Animals, mushrooms, lichens, plants, and corals are inhabiting every nook and cranny, thus creating new habitats. This symbiosis between the object and the growing environment reflects the balance and respect that humanity has lost, and that I symbolically recreate in my work by expressing hope, joy, and the beauty of nature in an explosion of color.

      Kilgast’s lighthearted, vivd, post-apocalytpic sculptures often include objects we tend to find discarded along the side of the road, like aluminum cans or glass bottles. Uncanny habitats also emerge around outmoded items like VHS tapes, portable CD players, or alarm clocks, which people rarely have a need for anymore thanks to smartphones or streaming services.

      “Cycle” (2025)

      The artist has also recently announced a new book, Utopia, which chronicles the last ten years of her work. The volume brings together a decade of sculptures, paintings, and sketchbook pages, complemented by essays and a complete catalogue of her pieces.

      Utopia will print if at least 150 pre-orders are made by October 3. Dibs your copy today via Dashbook. Orders are anticipated to ship in December. Explore more on the artist’s website and Instagram.

      Front view of “Plastic Play” (2022)

      “Alice Following the White Rabbit” (2023)

      “Chemical Candy Dragonfly” (2024)

      “Snapshot” (2024)

      “Moving Pictures” (2024)

      “Copper” (2024)

      Rear view of “Plastic Play” (2022)

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      Elmgreen & Dragset’s Uncanny Sculptures Make Reality Feel Like ‘Alice in Wonderland’

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      “The Other David” (2025), marble, 33
      7/16 × 59 1/16 × 33 7/16 inches. All images © Elmgreen & Dragset/Artists Rights Society (ARS), New York, courtesy of Pace Gallery, shared with permission

      Elmgreen & Dragset’s Uncanny Sculptures Make Reality Feel Like ‘Alice in Wonderland’

      September 18, 2025

      Art

      Grace Ebert

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      Dysmetropsia is a neurological condition that distorts size and perception, often causing objects to appear smaller or larger than they really are. Also called Alice in Wonderland Syndrome, the disorder is the basis of a disorienting exhibition by Berlin-based duo Elmgreen & Dragset.

      Collaborating since 1995, Michael Elmgreen and Ingar Dragset are behind a slew of iconic works, perhaps most famously the full-sized boutique in the middle of the Texan desert known as “Prada Marfa.” This destination installation is representative of the artist’s enduring interest in recontextualizing seemingly common objects to explore how our interpretation and perception change.

      “September 2025” (2025), silicone figure, clothing, chair, dimensions variable

      For their exhibition at Pace Gallery in Los Angeles—their first solo show in the city—the duo continues this line of inquiry. The Alice in Wonderland Syndrome opens with a silicone gallery attendant dozing on her desk, an undrunk cup of coffee and stack of books nearby. Like the adventurous tale it references, the large-scale show invites viewers to ask whether what unfolds is real or all a hallucinatory dream.

      Farther inside is a series of white marble figures recreated on two different scales. Wearing headphones and VR headsets, these nondescript characters appear perpetually distracted and immersed in their technologies of choice. On the gallery walls is a collection of circular works from the artist’s Sky Target series, which varies mirrors and cloudy expanses in stripes or concentric rings. These patterned pieces reflect the wide, open space and fragments of the sculptures, albeit through a distorted view.

      As we collectively grapple with the strange, often concerning effects of living in an increasingly digital world, Elmgreen & Dragset prompt us to consider how physical presence shapes our understanding and can lead to an uncanny experience all on its own.

      The Alice in Wonderland Syndrome is on view through October 25. Explore more of the artists’ work on the gallery’s website.

      Detail of “September 2025” (2025), silicone figure, clothing, chair, dimensions variable

      Detail of “September 2025” (2025), silicone figure, clothing, chair, dimensions variable

      Detail of “Close” (2025), marble, 71 1/8 × 26 × 20 1/4 inches

      “Close” (2025), marble, 71 1/8 × 26 × 20 1/4 inches

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      Hangama Amiri Stitches Memories of Migration into Vivid Textile Portraits

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      “Man with Vase of Tulips” (2024), muslin, cotton, chiffon, velvet, polyester, silk, suede, and linen, 62.5 x 53.5 inches. All images courtesy of Hangama Amiri, shared with permission

      Hangama Amiri Stitches Memories of Migration into Vivid Textile Portraits

      September 16, 2025

      Art

      Grace Ebert

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      Hangama Amiri translates fragments of her teenage years and family history into quilted portraits and tender tableaus. The artist, who resides in upstate New York and maintains a studio in Red Hook, is interested in recollection and the stories that make us who we are. “There’s an innocence and a special quality in revisiting and reminiscing those memories, especially that my family and I spent those years in migration across Central Asia,” she adds.

      At just 7 years old, Amiri left her native Kabul and traveled to various countries before settling in Canada as a teenager. This itinerant experience continues to inform the artist’s work, particularly as she seeks to build a larger narrative about “women’s importance socially, politically, economically, and culturally.”

      Detail of “Portrait of Kern Samuel at Yale Art Gallery” (2024), muslin, cotton, chiffon, silk, linen, and velvet, 52 x 34.5 inches

      Amiri begins with a drawing that she slices into shapes and traces onto velvet, silk, polyester, and other textiles sourced from Afghan-owned shops, online sources, and the occasional gift from friends and colleagues. Once cut out, these individual pieces layer onto a muslin backdrop, creating vivid portraits and domestic scenes with visible seams. Doing so “adds another layer of mark-making and texture,” she shares, noting that she utilizes a machine for this final step.

      Often focusing on the decorative elements of a space or a figure’s sartorial choices, Amiri captures a particular moment in time, highlighting a sense of familiarity and intimacy with her fleeting subject matter. Several works portray a meal shared among friends, while “Man with Vase of Tulips” depicts the titular character cradling a bouquet, a small photograph peeking through the cluster of vibrant flowers.

      Although we don’t know the location—perhaps he’s sitting in Afghanistan, Canada, or elsewhere—the piece exudes a sense of longing, exemplifying the artist’s enduring interest in preserving and resurfacing moments otherwise bound to the past.

      In addition to her quilts, Amiri has a neon sculpture on view at the John Michael Kohler Arts Center in Sheboygan, Wisconsin. She’s working toward several upcoming exhibitions this fall, including at the National Gallery of Canada, Konsthall C in Stockholm, and Paris International Art Fair. Follow along on her website and Instagram.

      “Portrait of Kern Samuel at Yale Art Gallery” (2024), muslin, cotton, chiffon, silk, linen, and velvet, 52 x 34.5 inches

      Detail of “Dastarkhwān” (2025), muslin, cotton, chiffon, canvas, denim, linen, silk, polyester, suede, inkjet-print on silk-chiffon, block-print, color-pencil, and acrylic paint on fabric, 77.5 x 54 inches

      “Dastarkhwān” (2025), muslin, cotton, chiffon, canvas, denim, linen, silk, polyester, suede, inkjet-print on silk-chiffon, block-print, color-pencil, and acrylic paint on fabric, 77.5 x 54 inches

      “Still-Life with Sushi and Red Wine” (2025), muslin, cotton, chiffon, linen, silk, polyester, suede, block-print, color-pencil, and acrylic paint on fabric, 47 x 64 inches

      “Nakhoonak-e Aroos/ Bride’s Nail” (2022), neon and glass. Image courtesy of John Michael Kohler Arts Center

      “Dominic Chambers with His Portrait Painting of Trevon Latin” (2024), muslin, cotton, chiffon, linen, velvet, denim, and silk, 52 x 42 inches

      “Departure” (2022), muslin, cotton, polyester, clear vinyl, faux leather, chiffon, and found fabric, 68.5 x 85 inches

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      Fragments of the Chinese Diaspora Converge in Stephanie Shih’s Mosaic Sculptures

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      “Toy Building (1915–1939)” (2025), Chinese export porcelain, crowdsourced and found objects, archaeological ceramic fragments from a Chinese fishing village on Monterey Bay (c. 1850–1906), stained glass, ceramic, polished stones, glass rods, resin, enamel, and grout on ferrocement, steel, and polystyrene. Image courtesy of the artist and John Michael Kohler Arts Center

      Fragments of the Chinese Diaspora Converge in Stephanie Shih’s Mosaic Sculptures

      September 15, 2025

      ArtFood

      Grace Ebert

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      Known for trompe l’oeil ceramic sculptures of pantry staples and domestic life, Stephanie Shih has further entrenched her largely culinary-focused repertoire in material culture. In two exhibitions, the Brooklyn-based artist (previously) embraces mosaic as she nests small glass fragments and pottery sherds into vivid compositions that explore production and labor.

      Shih’s architectural work on view at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, draws on the Midwestern grotto tradition with a pagoda-style structure. Broken porcelain dinnerware, polished stone, and ceramic sherds uncovered in a Chinese fishing village on Monterey Bay cloak the facade, while hundreds of crowd-sourced knick-knacks and figures embellish the rooftop.

      Titled “Toy Building (1915–1939),” the six-story sculpture reinterprets a historic spot in downtown Milwaukee that a Chinese immigrant owned and once housed a dancehall, restaurant, and various businesses. A collective portrait of the Chinese diaspora, Shih’s work pieces together archaeological, vintage, and contemporary objects into an eclectic array that bridges the mundane and divine.

      Detail of “Carolina’s Pride Peaches” (2025), stained glass and cement mortar on aluminum, 18 x 48 inches

      The artist continues her more recent venture into mosaic in Invisible Hand, a solo exhibition opening this week at SOCO Gallery. A wide, produce promotional in colorful stained glass, “Carolina’s Pride Peaches” depicts a woman marveling at the ripe fruit. As a statement from the gallery says, Shih directs us to consumption, portraying the luscious commodity once it’s been harvested by an unacknowledged laborer.

      Invisible Hand pairs the vintage-style advertisement with the artist’s ceramic fare. Included are typical grocery store finds like a carton of Tropicana and Smucker’s jelly, along with popular fast food remnants like a box from Kentucky Fried Chicken. The seemingly mundane nature of the objects lends itself to one of the artist’s enduring questions: who’s behind the conveniences and sustenance we’ve come to expect and rely on?

      As conversations about immigration and labor take center stage, Shih’s work reflects the long history of U.S. policy targeting essential workers. She references the Chinese Exclusion Act of 1882, which barred Chinese immigration for 10 years and largely targeted those who would occupy low-wage jobs. “This act set the stage for a broader pattern of racialized labor exploitation that continues to shape the U.S.’s immigration and labor policies today,” the artist adds.

      Invisible Hand runs from September 18 to November 8 in Charlotte. If you’re in Sheboygan, you can see “Toy Building (1915–1939)” as part of A Beautiful Experience: The Midwest Grotto Tradition through May 10, 2026. Explore more of the artist’s work on her website and Instagram.

      A collection of works from ‘Invisible Hand’

      “Carolina’s Pride Peaches” (2025), stained glass and cement mortar on aluminum, 18 x 48 inches

      Detail of “Carolina’s Pride Peaches” (2025), stained glass and cement mortar on aluminum, 18 x 48 inches

      Detail of “Toy Building (1915–1939)” (2025), Chinese export porcelain, crowdsourced and found objects, archaeological ceramic fragments from a Chinese fishing village on Monterey Bay (c. 1850–1906), stained glass, ceramic, polished stones, glass rods, resin, enamel, and grout on ferrocement, steel, and polystyrene. Image courtesy of the artist and John Michael Kohler Arts Center

      “Kentucky Fried Chicken” (2025), ceramic, 9 x 9 x 7 inches

      “Whitman’s Sampler” (2025), ceramic, 2.5 x 9 x 5.5 inches

      “Campbell’s Condensed Soups” (2025), ceramic, 12 x 10.5 x 3 inches

      “McCormick Spices” (2025), ceramic, 5 x 9 x 1.5 inches

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