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      Dara Schuman’s Rhythmic Tiered Vessels Embrace Intuition

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      Images © the artist, share with permission

      Dara Schuman’s Rhythmic Tiered Vessels Embrace Intuition

      June 11, 2025

      Art

      Jackie Andres

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      Experimentation is a driving force in Dara Schuman’s ceramic practice. Out of her Chicago studio, the artist conjures striking geometric forms that appear stacked, ribbed, and almost architectonic. With an air of retro-futurism informed by mid-century modern style, her jewel-toned volumetric vessels don earthy yet bold glazes in deep reds, ochre, and smokey blue.

      “Over time, I’ve found that my best pieces come from exploration rather than control,” the artist explains. Sitting before the pottery wheel, Schuman allows her thoughts to melt away before permitting her subconscious take charge. “Letting the clay guide me is what I enjoy most about the medium,” she shares.

      When Schuman discovers methods and motions that stick, she uses those processes as momentum to see how far she can push both the clay and her skills. Often, this approach naturally leads to bodies of work in which the iterative pieces feel and look inherently harmonious.

      Schuman is currently excited about lighting and has been experimenting with pendant lights and sculptural lamps. She is also working on a series of mugs for a shop update in the next month. Find much more from the artist on her website and Instagram.

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    • 150 Shares159 Views

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      Hew Locke’s ‘Odyssey’ Flotilla Sails Through Global Colonial History and Current Affairs

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      Installation view of ‘Hew Locke: Here’s the Thing’ (2019), Ikon Gallery, Birmingham. Photo by Stuart Whipps, courtesy of Ikon Gallery. All images © Hew Locke, courtesy of P·P·O·W, shared with permission

      Hew Locke’s ‘Odyssey’ Flotilla Sails Through Global Colonial History and Current Affairs

      June 10, 2025

      Art

      Kate Mothes

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      Through a multidisciplinary approach spanning painting, photography, sculpture, and installation, British artist Hew Locke OBE RA interrogates “the languages of colonial and post-colonial power, and the symbols through which different cultures assume and assert identity,” says P·P·O·W, which will present a series of the artists’ boat sculptures at Art Basel this month.

      Locke has long been interested in the time-honored traditions and spectrum of histories associated with watercraft. For Those in Peril on the Sea (2011), for example, incorporated 70 model boats that, when suspended from the ceiling, appeared to float in a colorful, eclectic flotilla. The artist combined customized models along with vessels made from scratch, representing different styles used around the world. “No crew are visible—the boats themselves are a symbol of the crew and passengers,” a statement says.

      “Odyssey 17” (2024), mixed media, 26 x 14 5/8 x 39 3/8 inches. Photos by Damian Griffiths

      Eight new vessels in Locke’s Odyssey series will sail through P·P·O·W’s booth at the art fair opening June 19. Representing a range of styles, from wooden gun ships and dreadnoughts to fishing boats and yachts, Locke adds colorful details like flags, painted patterns, patchwork sails, and onboard equipment.

      He invites us to consider the myriad associations with boats as fishing vessels, commuter ferries, military fleets, leisure cruises, and symbols of power, exploration, colonization, global conflict, and migration. As people continue to struggle across open seas in search of better lives, crowding onto ships and embarking on dangerous, or even deadly, voyages, maritime history converges with present-day events and global socio-political realities.

      “Fusing historical source material with a keen interest in current affairs, often through the juxtaposition or modification of existing artifacts, Locke focuses attention especially on the U.K., the monarchy, and his childhood home, Guyana,” P·P·O·W says.

      Sailors have also historically been famously superstitious, based on the inherent risks of their occupation, and they put a great deal of stock in omens. In “Odyssey 30,” for example, Locke illustrates the vessel’s sails with images of men being haunted by skeletons, an instance of memento mori that infuses the piece with a sense of foreboding.

      “Odyssey 30” (2024), mixed media, 21 5/8 x 35 7/8 x 6 3/4 inches

      Art Basel runs from June 19 to 22 in Basel, Switzerland. From September 2025, an installation titled Cargoes in King Edward Memorial Park, London, will take inspiration from the history of the site’s mercantile and dock communities. And the largest solo survey of the artist’s work to date, Hew Locke: Passages, continues at the Yale Center for British Art through January 11, 2026. See more on the artist’s website and Instagram.

      Installation view of ‘Hew Locke: Here’s the Thing’ (2019), Ikon Gallery, Birmingham. Photo by Stuart Whipps, courtesy of Ikon Gallery

      Detail of “Odyssey 30”

      “Odyssey 10” (2024), mixed media, 24 3/4 x 7 1/2 x 25 5/8 inches

      “Odyssey 22” (2024), mixed media, 15 3/8 x 7 7/8 x 28 3/4 inches

      Installation view of ‘Hew Locke: Here’s the Thing’ (2019), Ikon Gallery, Birmingham. Photo by Stuart Whipps, courtesy of Ikon Gallery

      “Odyssey 13” (2024), mixed media, 29 7/8 x 15 3/4 x 38 1/4 inches

      Detail of “Odyssey 30”

      “Odyssey 15” (2024), mixed media, 10 1/4 x 20 1/2 x 20 1/2 inches

      Detail of “Odyssey 15”

      “Odyssey 25” (2024), mixed media, 26 3/4 x 20 7/8 x 14 5/8 inches

      Detail of “Odyssey 10”

      Installation view of ‘Hew Locke: Here’s the Thing’ (2019), Ikon Gallery, Birmingham. Photo by Stuart Whipps, courtesy of Ikon Gallery

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    • 225 Shares169 Views

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      At Joy Machine, Five Artists Bring a Gust of Fresh Air for a Joint Exhibition with The Jaunt

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      Stevie Shao, “Thistle Butterfly sheltering from rain,” acrylic gouache and latex paint on paper, 16 1/2 x 11 1/2 inches

      At Joy Machine, Five Artists Bring a Gust of Fresh Air for a Joint Exhibition with The Jaunt

      June 9, 2025

      ArtPartner

      Joy Machine

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      Joy Machine is excited to announce a joint exhibition with The Jaunt. Opening this week in Chicago, Ventus features paintings, sculptures, and prints by Cody Hudson, Seonna Hong (previously), Seth Pimentel, Stevie Shao, and Scott Sueme.

      Founded and curated by Jeroen Smeets, The Jaunt (previously) is a travel project that sends artists around the world to experience new locations and cultures. Once they return home, artists create a limited-edition silkscreen print inspired by their journeys.

      Seonna Hong, “Summer Swimmers” (2025), acrylic on linen, 30 x 24 inches, framed

      Being outside our comfort zones heightens our senses and opens us up to new experiences and inspiration. The Jaunt is a gust of new perspective and energy that flows through artists’ creative processes, allowing them to reorient and establish a new current.

      For Ventus, Smeets gathered a group of artists who have each participated in the project, traveling to places like Shanghai, Mexico City, and Jeju Island, along with the towns of Shelton, Washington, and Joseph, Oregon. Each lets their experiences and observations lead as they create new artworks.

      Chicago has always been somewhat of a home away from home for The Jaunt. The very first exhibition was in the city, and over the years, amazing artists living and working in Chicago–including Cody Hudson, David Heo, Liz Flores, and others–have participated. The Jaunt and Joy Machine are excited to partner and present these five artists, many of whom are showing here for the first time.

      Ventus runs from June 13 to August 2. RSVP to the opening reception here.

      Stevie Shao, “Swallows,” acrylic gouache and latex paint on shaped wood

      Seonna Hong, “Bigfoot,” hand-finished print

      Scott Sueme, “Self-Schema, Pillar One” (2025), acrylic, flashe, and pastel on wood, 69 x 5.5 inches

      Cody Hudson, “Self-Sufficiency, Tangerine Variant”

      Cody Hudson, “Alternative Education, Tangerine Variant”

      Seth Pimentel, silkscreen print, 50 x 70 centimeters, edition of 50, signed and numbered by the artist

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      William Mophos Conjures the Carefree Joys of Childhood on Salvaged Architecture

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      Detail of “Quintal da Vovข” (2025), acrylic painting on wall fragment, miniatures of mixed materials, acrylic dome with cement board base, 21.6 x 23 x 21 centimeters. All images courtesy of William Morphos, shared with permission

      William Mophos Conjures the Carefree Joys of Childhood on Salvaged Architecture

      June 6, 2025

      Art

      Grace Ebert

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      The thrills of childhood play are on full display in the miniature works of William Mophos. On salvaged bricks, cracked tiles, and other architectural matter found throughout São Paulo, the Brazilian artist composes mixed-media scenes of a toddler drinking from a water hose or a youngster walking a dog. Intimate in size, the dioramas meld photorealistic portraits in acrylic with sculptural elements like minuscule flip-flops flung off a child’s feet or a red balloon frozen in an acrylic pane.

      Shown here are pieces of Colossal, a series that’s taken shape during the last five years. Marked with age, the materials evoke times passed and conjure a nostalgic, wistful longing for days filled with exploration and imagination. Find much more of Mophos’ work on his website and Instagram.

      “Estou Voando…” (2023), acrylic painting on tile, framed in acrylic and with a cement board background, 25.5 x 25.5 x 7.5 centimeters

      “Quintal da Vovข” (2025), acrylic painting on wall fragment, miniatures of mixed materials, acrylic dome with cement board base, 21.6 x 23 x 21 centimeters

      “Quintal da Vovข” (2025), acrylic painting on wall fragment, miniatures of mixed materials, acrylic dome with cement board base, 21.6 x 23 x 21 centimeters

      “Violeta e o Amarelo” (2023), acrylic and miniature painting on tiles, framed in acrylic and with a cement board background, 29 x 29 x 12.5 centimeters

      Detail of “Violeta e o Amarelo” (2023), acrylic and miniature painting on tiles, framed in acrylic and with a cement board background, 29 x 29 x 12.5 centimeters

      “Bexiga” (2023), acrylic painting and miniature on a wall fragment, framed in acrylic and with a cement board background, 24 x 26.8 x 7.5 centimeters

      Detail of “Bexiga” (2023), acrylic painting and miniature on a wall fragment, framed in acrylic and with a cement board background, 24 x 26.8 x 7.5 centimeters

      “Bento e seu amigo” (2025), acrylic painting on a wooden fragment, miniatures of mixed materials, framed in acrylic with a cementboard background, 33 x 26.5 x 9 centimeters

      Detail “Bento e seu amigo” (2025), acrylic painting on a wooden fragment, miniatures of mixed materials, framed in acrylic with a cementboard background, 33 x 26.5 x 9 centimeters

      “Ligia e o Urso” (2022), acrylic and miniature painting on a clay floor, framed in acrylic and with a cementboard background, 22.6 x 28 x 7.5 centimeters

      “Ibirapuera” (2024), acrylic painting on wooden board, framed in acrylic and with a cement board background, 32 x 18 x 7.5 centimeters

      “Bem Te Vi” (2024), acrylic painting on tiles, framed in acrylic with a cement board background, 20.3 x 42 x 7.5 centimeters

      “Dia de Chuva” (2023), acrylic painting on floor, framed in acrylic and with a cement board background, 9.3 x 19 x 7.5 centimeters

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    • 163 Shares169 Views

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      Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures

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      “Ouroflora” (2025),
      prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, 34 x 46 x 1 1/2 inches. All images courtesy of Wen Liu, shared with permission

      Chinese Herbs Suspended in Resin Usher in Healing in Wen Liu’s Skeletal Sculptures

      June 3, 2025

      Art

      Grace Ebert

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      “In traditional Chinese medicine, treatments are prescribed through dialogue—how well one can communicate internal pain becomes a condition for healing,” says Wen Liu. Particularly difficult in moments of agony and discomfort, accurately describing our bodily sensations is essential for receiving treatment, and yet, as Liu points out, it’s also an act of translation that can feel nearly impossible while suffering and speaking a second or third language.

      The Shanghai-born artist, who is now based in Brooklyn, draws on this reality for her sculptural works that suspend dried herbs in tinted resin. Liu began incorporating these natural prescriptions into her practice when her father died “as a way to metabolize grief and explore healing through cultural connection,” she adds.

      “In Light, Where Edges Yield” (2025), prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, stainless steel, 65 x 65 x 3 1/2 inches

      Painted in pale purples and greens or silver, the molded-clay structures are architectural and skeletal, while the herbal portions evoke both stained-glass windows often seen in churches and cathedrals and vulnerable membranes of the body. Many works are affixed to the wall, although the human-sized “In Light, Where Edges Yield” stands freely on four legs with a spinal column at its center.

      Liu is intrigued by the way light filters through these surfaces and appears on the other side as a sacred, distorted beam of color. “This refracted illumination offers a sensory language beyond speech, mirroring the project’s exploration of emotions like grief, the processes of healing, and the inadequacy of language in capturing lived experience,” she adds.

      Continually mixing Eastern and Western traditions, Liu instills a sense of harmony and balance in her works. She gravitates toward symmetry and presents her sculptures almost like a Rorschach test, inviting viewers into a delicate dialogue of healing.

      Antidote is on view through June 21 at Gaa Gallery in New York. Liu is currently working toward an exhibition opening this month at Tang Contemporary Art Beijing, and you can explore more on her website and Instagram. (via Young Space)

      “Inarticulate Trace No1.” (2023), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 37 x 32 x 1.5 inches

      “Silhouette of a Dose” (2022), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43 x 41 x 1.5 inches

      Detail of “Silhouette of a Dose” (2022), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43 x 41 x 1.5 inches

      Detail of “In Light, Where Edges Yield” (2025), prescribed herbal medicine, epoxy clay, resin, acrylic, varnish, stainless steel, 65 x 65 x 3 1/2 inches

      “Inarticulate Trace No2.” (2024), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 40 x 43 x 1.5 inches

      “Inarticulate Trace No3.” (2024), prescribed herbal medicine, epoxy clay, resin, paint, UV resistant varnish, 43.5 x 40.5 x 1.5 inches

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    • 150 Shares159 Views

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      In ‘Passing Time,’ Seth Clark’s Jumbled Old Houses Play, Leap, and Explore

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      All images courtesy of Seth Clark and Paradigm Gallery + Studio, Philadelphia, shared with permission

      In ‘Passing Time,’ Seth Clark’s Jumbled Old Houses Play, Leap, and Explore

      June 2, 2025

      Art

      Kate Mothes

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      Crumbling shingle roofs, peeling plywood, and fragmented framing characterize much of Seth Clark’s recent work, in which spheres or mounds of dilapidated houses serve as studies of texture, material, time, and neglect. In new work on view this week in his solo exhibition Passing Through at Paradigm Gallery + Studios, he’s made one mindful addition: limbs.

      The Pittsburgh-based artist’s collaged paper paintings, pastel and ink transfer drawings, and sculptures reflect his interest in the chaotic aesthetic of collapsing houses. More recently, his jumbled compositions have sprouted legs, strolling or running and adding a sense of both urgency and playfulness to the architectural forms.

      Drawing on daily observations and photographs, especially of Pittsburgh’s suburban row houses, Clark assembles references for window frames, siding, gables, roof lines, and more to emphasize various states of deterioration. Found materials and papers provide the paintings’ layered textures, which he then ages with ink washes, charcoal, graphite, pastel, and acrylic. His new works are dollhouse-like and a smidge brighter than in the past, with the addition of cheerful pinks, yellows, and purples to complement darker browns and grays.

      Clark’s anthropomorphized constructions suggest the nature of inhabiting—something akin to the soul of a place in addition to its physical makeup. The artist “attributes this change to recently becoming a father and developing an urge to instill hope into crumbling houses and broken window panes,” the gallery says. “What was first a sobering reminder of mortality has now become a message of how, even in states of chaos and decay, there can still be enough joy found in dark places to pick up the pieces and create something new.”

      Passing Through runs from June 6 to June 29 in Philadelphia. See more on the artist’s website and Instagram.

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    • 125 Shares159 Views

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      Guardians of Time and Transformation Commune in Jeanne Vicerial’s ‘Nymphose’

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      Installation view of ‘Jeanne Vicerial: Nymphose’ at TEMPLON, Beauborg. Photos by Laurent Edeline. All images courtesy of the artist and TEMPLON, Paris – Bruxelles – New
      York, shared with permission

      Guardians of Time and Transformation Commune in Jeanne Vicerial’s ‘Nymphose’

      May 28, 2025

      Art

      Kate Mothes

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      From lengths of black cord, thread, and fine metals, Jeanne Vicerial summons the ageless, transformative power of armor and protective garments in a new series of sculptures. Drawing on her body of work titled Armors, the artist continues to create enigmatic sculptures that question the nature of presence, consciousness, and change.

      In the artist’s current solo exhibition, Nymphose, at TEMPLON, darkly mysterious figures stand in silent, contemplative observation. Some works, like “Persephone n°3” or “Présence, Amnios,” portray semblances of human faces, while others like “Mue n°9, Nymphose” may be inhabited by something more like a spirit or an otherworldly deity than a physical person.

      “Présence, Amnios” (2025) ropes and thread, with copper and brass gilded with fine gold 110 1/4 x 43 1/4 x 27 1/2 inches

      Vicerial has recently introduced metals like copper and gold into bodily cavities in her works, emphasizing feminine power and internal energy, which the gallery describes as “objects-as-offerings.” For the artist, these works center around the nature of metamorphosis, both in the process of translating a single length of rope into a fully-formed sculpture and in the biological and emotional ways that women transform over time.

      Like her Armors, the figures in Nymphose possess individual strength that heightens when gathered together. Vicerial employs words like “Gardienne” in her titles, French for “guardian,” to imply protection. “Mue” translates to “molt,” like the way an animal might shed its feathers or skin to make room for new growth.

      Delicate and soft, Vicerial’s figures are simultaneously tall, elegant, timeless sages. The artist positions their vulnerabilities as strengths, tapping into the societal taboo of women aging and the inevitable cycle of life.

      Nymphose continues in Paris through July 19. Explore more on Vicerial’s website and Instagram.

      “Nymphoses” (2023-2025), ropes and thread, 76 3/4 x 33 1/2 x 28 1/4 inches

      “Mue n°9, Nymphose” (2024-2025) rope, thread, and copper and brass gilded with fine gold, 74 3/4 x 32 1/4 x 29 1/4 inches

      “Trâmes, Ex voto” (2020-2024), rope, thread, and metal, 19 3/4 x 13 1/2 x 3 1/4 inches

      “Gardienne n°4, Nymphose” (2025), bronze, rope, and thread, 70 3/4 x 21 3/4 x 11 3/4 inches

      “Persephone n°3” (2025), bronze, rope, and thread, 17 3/4 x 14 1/4 x 8 3/4 inches

      Detail of “Présence, Amnios”

      “Sex voto orné n°9” (2024), rope and wire with handworked copper and brass prints, gilded with fine gold

      “Mue n°10, Nymphose” (2024-2025), rope and thread, 68 1/2 x 39 1/4 x 39 1/4 inches

      “Sex voto orné n°13” (2024), rope and wire with handworked copper and brass prints, gilded with fine gold

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    • 175 Shares199 Views

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      Homewares and Laundry Take on Lives of Their Own in Tobias Izsó’s Mixed-Media Sculptures

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      “#1” (2023) from the series ‘off the cuff,’ textile, foam, horsehair, walnut, lime, oil willow, rattan, and brass, 80 x 70 x 5 centimeters. All photos by Simon Veres. Images courtesy of the artist and Christine König Galerie, shared with permission

      Homewares and Laundry Take on Lives of Their Own in Tobias Izsó’s Mixed-Media Sculptures

      May 28, 2025

      Art

      Kate Mothes

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      Shoelaces, zippers, chairs, and other domestic items adopt unexpected personalities in the uncanny sculptures of Tobias Izsó. Incorporating a wide range of materials, from various woods and paper to leather and textiles, the artist investigates the emotional terrain of private spaces. Izsó depicts sweaters, shoelaces, shirt cuffs, and piles of laundry merging with their surroundings or seemingly possessing minds of their own.

      Christine König Galerie, which represents the artist, exhibited Izsó’s series off the cuff last year in its project space, KOENIG2. The works explore relationships between home, self, and the emotional influence of stuff. Izsó’s work will be on view at Kunstverein Dresden in October, and you can find more on the artist’s Instagram.

      “#8” (2024) from the series ‘off the cuff,’ oak, paperclip, and paper, 15 x 19 x 14 centimeters

      “#6” (2023) from the series ‘off the cuff,’ webbing, leather, stainless steel, bentwood, oak carpet, textile, rattan, veneer, and brass, 170 x 47 x 35 centimeters

      “#3” (2024) from ‘off the cuff,’ beech, walnut, cherry, oak, and elm, 116 x 45 x 43 centimeters

      “#2” (2023), from the series ‘off the cuff,’ rattan, beech, Afrik, walnut, raffia walnut, and raffia, 82 x 60 x 12 centimeters

      “#5” (2024) from the series ‘off the cuff,’ cherry wood, pine wood, leather, and textile, 108 x 30 x 855 centimeters

      “#4” (2024) from the series ‘off the cuff,’ cherry wood and wall anchor, 99 x 42 x 15 centimeters

      Installation view of ‘Off the Cuff’ at KOENIG2 by_robbygreif

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