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      Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages

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      “Residue” (2018). Photo by Ryohei Yanagihara. All images courtesy of Rui Sasaki, shared with permission

      Rui Sasaki Encases Spectral Flowers in Intimate Glass Assemblages

      March 10, 2025

      ArtNature

      Kate Mothes

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      “What is essential is invisible to the eye,” Antoine de Saint-Exupéry wrote in his 1943 novella The Little Prince, a sentiment that drives Rui Sasaki’s work. From what the artist (previously) describes as a “mysterious and ambiguous material,” botanicals appear to float in frozen cubes of water.

      Sasaki employs glass to document and preserve the nature of the present. Works like “Subtle Intimacy” respond to places and experiences where she feels present. “It is vital for me to connect who I am and where I am, especially when I am in unfamiliar spaces,” the artist tells Colossal. She likens intimacy to nostalgia, exploring the depth of feeling associated with memories, comfort, and security.

      “Subtle Intimacy 2012-2023” (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der Giesen

      Sasaki traces her fascination with the medium to childhood, specifically to its visual similarities to the surfaces of ponds or lakes. “I was always wondering how I could make something out of water,” she says. “When I saw molten glass at a glassblowing studio during a summer family trip in Okinawa, I fell in love with it.”

      When Sasaki moved to the U.S. from Japan in 2007, she began incorporating plants into her work as a way to “recover my senses from my loss of intimacy and home in my mother country,” she says. When she returned to Japan five years later, she continued to hone her focus on botanicals.

      Enchanted by how plants can express experiences of her surroundings, Sasaki portrays individual botanicals in sculptures ranging in size from a few feet wide to room-size installations. She says:

      Collecting plants is the most important aspect of the work. I use all my five senses in gathering plants. That helps me to recall my past memories, especially in my childhood, and to connect my feelings of intimacy towards my country, Japan.

      Sasaki places collected specimens between two sheets of glass and fires the piece in a kiln. The plant turns to white ash, leaving the impression of petals, leaves, and veins. Air bubbles that naturally emerge in the heat are also preserved in what the artist likes to a time capsule. The original form of the plant no longer exists but its impression endures.

      Detail of “Subtle Intimacy 2012-2023″ (2023). Photo by Nik van der Giesen

      Dualities like presence and absence, fragility and strength, and transparency and opacity merge with Sasaki’s interest in “befriending” glass while reveling in the knowledge that she will never fully comprehend everything about it.

      If you’re in Denmark, you can see Sasaki’s sculptures at Glas from March 22 to September 28 in Ebeltoft. Her work will also be on view later this year at the Aichi Triennale 2025. Explore more on the artist’s website, and follow Instagram for updates.

      “Residue” (2018). Photo by Ryohei Yanagihara

      “Unforgettable Gardens” (2022). Photo courtesy of Art Court Gallery / Takeru Koroda

      “Subtle Intimacy 2012-2023” (2023), glass, plants, LED, and aluminum, 253.5 x 310 x 332 centimeters. Collection of 21st Century Museum of Contemporary Art, Kanazawa. Photo by Nik van der Giesen

      Detail of “Subtle Intimacy / Utsuroi” (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya Nomura

      “Subtle Intimacy / Utsuroi” (2024). Photo courtesy of National Crafts Museum (National Museum of Modern Art, Tokyo) / Tomoya Nomura

      Detail of “Dormant Recollections” (2024). Photo courtesy of Northern Alps Art Festival

      Detail of “Unforgettable Reminiscences” (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, ©︎ Tokyu Kabuchiko Tower

      Detail of “Unforgettable Reminiscences” (2022-2023), installation view at Bellustar One. Photo by Keizo Kioku, ©︎ Tokyu Kabuchiko Tower

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    • 175 Shares189 Views

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      ‘The Praise House’ Shares the Story of a Contemplative Installation on an Alabama Plantation

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      All images courtesy of 1504, shared with permisison

      ‘The Praise House’ Shares the Story of a Contemplative Installation on an Alabama Plantation

      March 6, 2025

      ArtFilmHistorySocial Issues

      Grace Ebert

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      On the site of the former Scott’s Grove Baptist Church, artist Tony M. Bingham has constructed a monumental work of contemplation and reflection. Two wood-paneled walls stand parallel in the serene clearing with stained glass windows, a Sylacauga marble floor, and a steel cutout depicting members who once worshiped on its grounds.

      A tribute to local history, Bingham’s work is titled “The Praise House,” which takes its name from the vernacular structures people who were enslaved often built on plantations throughout the Southern U.S. as a space for prayer. “My way of addressing the power and the legacy is to just begin to look at some of the possible sources of opposition that the enslaved community could have participated in,” the artist says.

      A new short documentary follows Bingham as he visits The Wallace Center for Arts and Reconciliation and installs the work. Located just outside of Birmingham in Harpersville, Alabama, the former plantation house is now a space for healing and reconciliation run by descendants of both the enslaved and enslavers.

      Today, the center hosts a variety of art and culture programming to reflect on its history, and “The Praise House” is one such commission. After learning more about the enslaved communities, Bingham wanted to create a work that honored their legacy. “Using organic, repurposed, and cast-off materials, I make art that tells the story of my cast-off people,” he says, adding:

      The house was being historically renovated, and planks of lumber were being replaced. I imagined that these old boards were the very surfaces enslaved people walked on or touched, and I sought to bring those materials back together in a way that could inspire reflection on the history of the enslaved people who once lived there.

      Directed by Tyler Jones of 1504, the film is a poignant, enlightening glimpse into the lengthy process behind “The Praise House.” Bingham, who is a professor at Miles College in Birmingham, frequently invokes the historical realities of the location and returns to fundamental questions about the purpose of his work and art more broadly. “Who will speak for my people if not the artist?” he asks. “Who will help those outside of the art dialog to understand the creative potential they possess?”

      Watch “The Praise House” above, and find more from the artist on Instagram.

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    • 163 Shares139 Views

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      Folk Traditions, Quotidian Items, and Spiritual Symbolism Merge in Haegue Yang’s Sensory Sculptures

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      “Sonic Intermediates – Triad Walker Trinity” (2020), powder-coated steel and handles, casters, nickel and brass-plated bells, metal rings, plastic twine, turbine vents, artificial plants, pine cones, and foam. Photo by Nick Ash. Image courtesy of kurimanzutto, Mexico City / New York. All images courtesy of the artist, shared with permission

      Folk Traditions, Quotidian Items, and Spiritual Symbolism Merge in Haegue Yang’s Sensory Sculptures

      March 6, 2025

      Art

      Kate Mothes

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      “Abstraction is not a…simplified way of thinking: it’s a leap—a leap into a dimension that cannot otherwise be understood,” says Haegue Yang, whose multimedia installations and sculptures explore a wide array of material associations, immersing the senses. Series such as Light Sculptures and Sonic Sculptures defy genres, often combining ready-made, mass-produced items with industrially created substances.

      At the Nasher Sculpture Center in Dallas, Yang’s solo exhibition Lost Lands and Sunken Fields engages viewers in a “dialectic of contrasts: light and dark, aerial and grounded, buoyant and heavy, spare and dense, interior and exterior,” a statement says. The show follows the artist’s first major survey in the U.K. at London’s Hayward Gallery, which embarked on a collage-forward celebration of work created during the past 20 years.

      “Frosted Scales Mermaid Queen – Mesmerizing Mesh #218” (2023), Hanji, washi, and origami paper on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

      Working between Seoul and Berlin, Yang hybridizes folk customs and craftsmanship, everyday items, and vernacular techniques in pieces that combine sculpture, installation, collage, text, video, wallpaper, and sound. “Sonic Intermediates – Triad Walker Trinity,” for example, coats steel frames in tiny bells, metal rings, plastic twine, and more, which evoke vaguely animalistic forms that move around on casters.

      Time and geography collapse in an abstracted visual language that merges the modern and the pre-modern, art history and literature, and themes of displacement, migration, forced exile, and global diasporas. Her works “link various geopolitical contexts and histories in an attempt to understand and comment on our own time,” says a statement from kurimanzutto, which represents the artist.

      The gallery also presents a concurrent exhibition titled Arcane Abstractions, including two-dimensional collage works complemented by an archival display of pieces by Mexican artisans. Yang continues to investigate cultural heritage and ritualistic symbolism through materials as she forwards “a proposal to live our lives today with a holistic view of mobility and technology, respect for spirituality, as well as contemplation on the resilient adaptability of both nature and humans,” says a statement. 

      Arcane Abstractions continues through April 5 in Mexico City, and Lost Lands and Sunken Fields runs through April 27 in Dallas.

      “Airborne Paper Creatures – Flutterers” (2025), birch plywood, wood stain, stainless steel components, Hanji, washi, origami paper, marbled paper, honeycomb paper balls, beads, metal bells, plastic crown flowers, parandy, Punjabi earrings and ornaments, stainless steel chains, split rings, steel wire ropes, and swivels, 47 3/4 x 22 x 25 1/2 inches, 21 3/4 x 12 1/2 x 9 1/2 inches, and 36 1/2 x 23 1/2 x 23 1/2 inches (three parts). Photo by Studio Haegue Yang. Image courtesy of the Nasher Sculpture Center

      Detail of “Airborne Paper Creatures – Flutterers.” Image courtesy of the Nasher Sculpture Center

      Installation view of ‘Haegue Yang: Leap Year’ (2024). Photo by Mark Blower. Image courtesy of the artist and the Hayward Gallery, London

      Installation view of ‘Haegue Yang: Leap Year’ (2024). Photo by Mark Blower. Image courtesy of the artist and the Hayward Gallery, London

      “Aztec Underwater Wanderer – Mesmerizing Mesh #214” (2023), Hanji and washi on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

      “Radial Tousled Epiphyte” (2025), birch plywood, wood stain, acrylic board, powder-coated stainless steel wall mount, stainless steel components, Hanji, and marbled paper, 54 3/4 x 54 3/4 x 8 1/4 inches. Photo by Studio Haegue Yang. Image courtesy of the Nasher Sculpture Center

      Detail of “Radial Tousled Epiphyte.” Image courtesy of the Nasher Sculpture Center

      “Sonic Clotheshorse–Dressage #3” (2019), powder-coated aluminum frame, mesh and handles, casters, brass-and nickel- plated bells, split rings, 60 1/4 x 22 x 30 3/4 inches, and “Sonic Clotheshorse–Dressage #4” (2019), powder-coated aluminum frame, mesh and handles, casters, brass-and nickel-plated bells, and split rings, 50 1/4 x 19 1/4 x 33 3/4 inches. Installation view of ‘Haegue Yang: Emergence’ at the Art Gallery of Ontario, Toronto, Canada, 2020. Photo by Craig Boyko, AGO

      “Aqua-Respirating Soul Sheet – Mesmerizing Mesh #263” (2024), Hanji, washi, and origami paper on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Image courtesy of kurimanzutto, Mexico City / New York

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    • 150 Shares159 Views

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      From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body

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      Detail of “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches. All images courtesy of the artist and P·P·O·W, shared with permission

      From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body

      March 5, 2025

      Art

      Grace Ebert

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      The early 1780s produced a medical training tool that today seems unusually macabre and unsettling: the Anatomical Venus. A waxen model with real human hair and strings of pearls around her neck, the reclined figure appeared incredibly realistic, although pulling back the plate on its abdomen or chest revealed a series of internal organs and systems.

      As Ian Shank writes, modern viewers see the Anatomical Venus as discordant given the tension between the figure’s idealized beauty—and its inherent sensuality—and its function as an educational model.

      “Untitled (crown)” (2021), porcelain, glaze, china paint, wood, 24 x 16 x 2 inches. Photo by JSP Art Photography

      Jessica Stoller takes this dissonance as a starting point in “Seeing Red,” a floor-based sculpture of more than 150 individual ceramic objects. Atop the square tableaux are oversized white orbs that overshadow the mottled pink base. Fragmented body parts, seashells, leaves, a bent coat hanger, snakes, pottery shards, and more spread throughout.

      Reflecting on the continued push to strip protections for bodily autonomy in the U.S., “Seeing Red” separates the female form into distinctive parts and places them at the lowest position possible. As the oppressive pearls loom over the rest of the components, the unnerving work directly challenges who has a right to self-determination and control over their body.

      The grotesque and disturbing play an important role throughout Stoller’s practice as she frequently incorporates human anatomy with porcelain and ceramic traditions. “Untitled (close up #3),” for example, features delicate pink and purple blossoms that frame what appears to be a series of large, purple bruises.

      Similarly, “Untitled (sugar still life)” comprises a sweet spread that stretches across an elaborate display. Tucked in the seemingly saccharine work, though, are unsavory elements like a skeletal hand reaching from piped ribbons and medical devices stabbed into various confections.

      “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches

      Rebelling against patriarchal priorities, Stoller continually confronts romanticized notions of the body through surreal, even monstrous compositions. Instead, her works are bold and unabashed as they examine the feminine figure, rooting out stereotypes and historical injustices while emphasizing the potency of the unseemly.

      Many of the works shown here are on view in New York for Stoller’s solo show Split, which continues through April 5 at P·P·O·W. Find more from the artist on Instagram.

      Detail of “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches

      “Skin to Scale” (2023), porcelain, glaze, china paint, wood, 22 1/2 x 14 1/2 x 2 1/2 inches

      “Untitled (close up #3)” (2020), porcelain, glaze, china paint, lustre, wood, 19 x 15 x 2 inches

      “Silphium” (2024), porcelain, glaze, china paint, lustre, 19 x 8 1/2 x 4 1/2 inches

      “Yellow Wallpaper” (2025), porcelain, glaze, china paint, wood, 23 x 17 1/2 x 3 inches

      “Untitled (sugar still life)” (2018), porcelain, glaze, china paint, lustre, enamel, and wood, 60 x 36 x 22 inches. Photo by JSP Art Photography

      Detail of “Untitled (sugar still life)” (2018), porcelain, glaze, china paint, lustre, enamel, and wood, 60 x 36 x 22 inches. Photo by JSP Art Photography

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    • 150 Shares179 Views

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      Biological Cells and Chinese Ceramic Traditions Coalesce in Shiyuan Xu’s Porcelain Sculptures

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      “Hybrid #7” (2024), porcelain, Paperclay, and glaze, 19 x 9.5 x 15 inches. All images courtesy of Shiyuan Xu, shared with permission

      Biological Cells and Chinese Ceramic Traditions Coalesce in Shiyuan Xu’s Porcelain Sculptures

      March 3, 2025

      ArtCraftNature

      Kate Mothes

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      From seeds to the world’s smallest organisms, the inspiration for Shiyuan Xu’s porcelain sculptures (previously) originates in biology. Fascinated by the patterns, shapes, and structures of a wide variety of creatures, the artist creates intricate interpretations of cells, the essential building blocks of all life forms.

      Working meticulously with porcelain Paperclay—a mix of clay and cellulose fibers—and glaze, Xu sculpts webbed, amorphous forms that appear amoeba-like, as if expanding and contracting. She is deeply influenced by the work of Scottish mathematical biologist D’Arcy Thompson (1860–1948), whose seminal book On Growth and Form traces the scale and shapes of living things.

      “Hybrid #9” (2024), porcelain, Paperclay, and glaze, 19 x 8.5 x 21.5 inches

      A “diagram of forces” is how Thompson described the form of a specimen. For Xu, this dynamic evaluation shapes how she translates micro life forms into her work. “It is about movement, time, and space,” she says. “It records the way they move and grow; the way they react to the surrounding environment by interacting, altering, evolving and adapting to generate infinite new forms.”

      Xu views the history of porcelain as deeply intertwined with her own memories and identity, and she often employs a classic Chinese ceramic color palette in her pieces. The irregular structures and ombre colors reference the artist’s personal experiences. She says:

      Being an outsider in America for the past decade, my experience offers me a new perspective to reflect my own cultural heritage… The repetitive and labor-intensive process serves as a therapeutic response to the challenges of my experience in navigating dual cultures. My pieces are in many ways like living organisms, a metaphor for the evolving nature of life itself, and my own journey and roots.

      If you’re in London, you can see Xu’s work in a small exhibition dedicated to Chinese contemporary studio craft at the V&A, and her work will be included in a handful of forthcoming juried exhibitions in Portugal, Italy, and Missouri. Find more on her website.

      “Blue Vein #15” (2024), colored porcelain, Paperclay, and glaze, 23 x 10 x 15 inches

      Detail of “Blue Vein #15”

      “Vena Celadon #5” (2025), porcelain, Paperclay, and glaze, 24 x 9 x 14.5 inches

      Detail of “Vena Celadon #5”

      “Hybrid #6” (2023), colored porcelain Paperclay, and glaze, 23 x 11 x 10.5 inches. Photo by Guy Nichol

      “Hybrid #5” (2023), porcelain, Paperclay, and glaze, 20 x 11 x 17 inches. Photo by Guy Nichol

      “Hybrid #8” (2024), porcelain, Paperclay, and glaze, 19.5 x 8.5 x 16.5 inches

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    • 175 Shares129 Views

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      In a Retrofitted School Bus at the U.S.-Mexico Border, Guadalupe Maravilla Heals Through Vibrations

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      All images from the Art21 “New York Close Up” film, “Guadalupe Maravilla’s ‘Mariposa Relámpago,’” © Art21, shared with permission

      In a Retrofitted School Bus at the U.S.-Mexico Border, Guadalupe Maravilla Heals Through Vibrations

      February 26, 2025

      ArtFilm

      Grace Ebert

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      Guadalupe Maravilla’s multi-disciplinary practice is rooted in a simple premise: sound is medicine.

      The artist is known for works that merge sculpture, performance, instruments, and healing, one such project being the elaborately retrofitted school bus titled “Mariposa Relámpago.” Part of Maravilla’s Disease Throwers series, the large-scale coach is devoid of bench seats and ubiquitous yellow paint and instead features an open cab lined with chrome panels. More than 700 found objects adorn its body, from cutlery and a worn pair of sandals to large gongs. More

    • 125 Shares129 Views

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      A Monumental Immersive Installation by ENESS Prompts Joy and Togetherness

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      “Forest Dancer.” All images courtesy of ENESS, shared with permission

      A Monumental Immersive Installation by ENESS Prompts Joy and Togetherness

      February 24, 2025

      ArtDesign

      Kate Mothes

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      A nine-meter-tall passageway made of eight individual arches enticed visitors into ENESS’s latest installation (previously). Last month at Quoz Arts Fest 2025 in Dubai, Forest Dancer comprised a monumental entry and an immersive exhibition of illuminated inflatable forms inside a contemporary building.

      With mushroom-like proportions, pixellated patterns, and a slew of changing hues, ENESS’s work encompasses a central character surrounded by psychedelic trees, mountains, insects, and boulder-like bean bags.

      “As artists, we work in many contexts—inside galleries and museums, in (the) public realm and even creating small art pieces for the home,” said ENESS founder Nimrod Weis. “This approach of ‘art is everywhere’ means that we responded to the inspiring architecture by creating an artwork that is at once a conversation with the built form and an installation in its own right.”

      This year’s festival was curated around the theme of an Arabic proverb meaning “a hut holds a thousand friends,” inspiring creative responses that center bringing people of all ages together and promoting interactivity.

      A statement says, “The entire exhibition, spanning over 600 square meters, is an ode to the power and importance of creativity in the face of online obsession, geopolitical upheaval, and the rise of dark forces taking us far from the soulfulness of art, human connection, and gentle contemplation,” says a statement.

      Find more on ENESS’s website.

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    • 163 Shares179 Views

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      Vibrant Brushstrokes Float in Resin Cubes in Fabian Oefner’s Sculptural Ode to Painting

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      All images courtesy of Fabian Oefner, shared with permission

      Vibrant Brushstrokes Float in Resin Cubes in Fabian Oefner’s Sculptural Ode to Painting

      February 24, 2025

      Art

      Kate Mothes

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      Frozen inside blocks of clear resin, a series of swirling, gestural brushstrokes appear to float midair. Fabian Oefner is no stranger to the polymer substance, which can be poured into a mold in a liquid form and cured into a solid. In his latest series, Volumen, the artist transforms paint strokes into physical objects with dynamic dimensionality.

      Oefner’s practice has often focused on the nature of gravity and motion, suspending objects in physical sculptures or photographing vehicles and machines in the style of exploded diagrams. He sometimes deconstructs items like cameras or sneakers, reassembling them in puzzle-like compositions (previously).

      The artist has always been fascinated by the textural quality of paint, especially in the work of Abstract Expressionists who emphasized gestural motions, mark-making, and spontaneity—or at least the appearance of it. Oefner says:

      For me, experiencing works like de Kooning’s “Door to the River” or Pollock’s “Lavender Mist” has always been as much a tactile experience as a visual one. These paintings are almost like sculptures to me. What I am doing is removing the canvas entirely and lifting the paint into space, making its physicality completely tangible.

      Find more on the artist’s website.

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