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      Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures

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      Photo by Ign Raditya Bramantya. All images courtesy of Mulyana and Sapar Contemporary, shared with permission

      Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures

      October 16, 2024

      ArtClimatePhotography

      Kate Mothes

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      From thousands of plastic bags, nets, and hanks of yarn, Indonesian artist Mulyana (previously) illuminates the fragility of marine ecosystems.

      In his solo exhibition Remembering Our Collective Future at Sapar Contemporary, the artist has incorporated recyclable materials and distilled the palette to white, evoking a symbol of purity and drawing attention to the consequences of human impact on our oceans, such as coral bleaching.

      “Betty 21” (2024), plastic yarn, plastic net, and cable wire, 82 5/8 x 76 3/4 x 13 3/4 inches

      Curated by John Silvis, the show invites viewers to reflect on the effects of the climate crisis and the critical importance of environmental preservation. Photographs by Ign Raditya Bramantya highlight a living, breathing embodiment of coral as it traverses the city streets, bringing the ocean to daily life.

      Mulyana painstakingly twists, knots, and wraps plastic netting, cable wire, and plastic yarn into sculptures and wall hangings resembling coral and cartoonish sea creatures.

      Running concurrently at the Charles B. Wang Center at SUNY Stony Brook, an exhibition of the artist’s vibrant yarn works showcases costumes and characters inspired by marine life. Yarnscapes: Mulyana’s Environmental Tapestries presents a playful counterpoint to the monochrome pieces, nevertheless urging us to remember and evaluate our relationship to our oceans.

      Remembering Our Collective Future runs from October 22 to November 20 in New York City, coinciding with Yarnscapes in Stony Brook through December 10. Find more on the artist’s website and Instagram.

      Photo by Ign Raditya Bramantya

      Photo by Ign Raditya Bramantya

      Detail of “Betty 25” (2024), plastic yarn, plastic net, and cable wire, 74 3/4 x 78 3/4 x 13 3/4 inches

      “Betty 28” (2024), plastic yarn, plastic net, and cable wire, 86 5/8 x 86 5/8 x 13 3/4 inches

      Photo by Ign Raditya Bramantya

      Detail of “Betty 26” (2024), plastic yarn, plastic net, and cable wire, 65 x 51 1/8 x 13 3/4 inches

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    • 138 Shares199 Views

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      Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony

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      “Self-awareness” (2024),
      veneered plywood, cork, stoneware, porcelain,
      patinaed brass, oil painted manicure, wooden vanity,
      28 × 61 × 20 inches. All photos by
      Pauline Shapiro, © Genesis Belanger, courtesy of the artist and
      Pace Gallery, shared with permission

      Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony

      October 15, 2024

      Art

      Grace Ebert

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      A comb with perfectly manicured teeth, a tote overflowing with groceries and a bitten chocolate cookie, and a vacuum cleaner intent on eating a rug are a few of the peculiar details in Genesis Belanger’s latest exhibition.

      In the Right Conditions we are Indistinguishable, on view now Pace Gallery in London, presents fourteen vignettes of everyday life gone awry. Known for her disorienting, sometimes seductive sculptures, the artist continues working with her signature flatness and distinctive visual language, drawing on advertising techniques to critique consumerism plaguing modern life.

      “Cause and Effect” (2024), stoneware, powder coated steel, plywood, composite board, sunbrella fabric, silk and cashmere suiting, hardware, 41 × 35 × 53 inches

      Belanger’s earlier sculptures revel in pastel hues and the warm textures of ceramic, while this new body of work is more expansive. Bold, saturated colors appear throughout the individual vignettes, like on a cobalt vase and bright pink fruits resting in a squat dish. The artist also incorporates a wider array of materials into these sculptures, including the silk cashmere lining a vacuum cleaner bag and the veneered plywood that structures shelving.

      Arousing humor and absurdity from the most banal objects, Belanger invokes excessive desire, gendered expectations, and corporate malaise. “Self-Awareness,” for example, features a disjointed portrait of various objects spread across a wood table. The candlesticks with knotted wicks reference the feeling of working a 9-to-5 job, which she describes as “burnt down and tied in knots,” while the tableaux as a whole nods to self-curation and performance.

      “A Breeze Shimmers” (2024), patinaed brass, powder-coated aluminum, porcelain,hardware, 84 × 50 × 45 inches

      The artist typically shies away from depicting the human body in full form, instead preferring to represent it through fragmented parts or symbols like food and shapely objects. Fruit often takes on this role, especially in the pair of round, potted sculptures that give credence to natural growth.

      These works stand in stark contrast to the flattening effect of “16 Bit Eden,” which layers flowers and cherries atop a grid. Evoking the digital world, the pixelated backdrop questions the contemporary desire to ignore the objects and realities right in front of us.

      In the Right Conditions we are Indistinguishable is Belanger’s first U.K. exhibition and runs through November 9. See more of her work on Instagram.

      “Husband Material” (2024), porcelain, stoneware, plywood, raincoat fabric, rubber-coated linen18 1/4 × 21 × 16 5/8 inches

      “Family Portrait” (2024), veneered plywood, cork, porcelain, stoneware, 45 1/2 × 41 × 11 1/4 inches

      “Sentimental Attachment” (2024), stoneware with oil-painted manicure, 25 × 13 × 2 inches

      “Managed Expectations (you only deserve a tiny piece)” (2024), veneered plywood, powder-coated steel, cork, porcelain, 30 × 20 1/4 × 7 3/8 inches

      “It Always Comes Out in the Wash” (2024), stoneware, porcelain, patinaed brass, and fiberglass,29 × 6 × 32 inches

      Installation view of ‘Genesis Belanger: In the Right Conditions we are Indistinguishable,’ Pace Gallery, London (2024). Photo by Damian Griffiths

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    • 138 Shares199 Views

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      From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

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      “Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. All images courtesy of JiSook Jung, shared with permission

      From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

      October 2, 2024

      Art

      Kate Mothes

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      JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”

      Jung’s pensive, abstracted beings sprout limbs and minimal—if any—facial features. Each piece is vaguely animalistic and evocative of weather, the elements, and organic textures. A cloud walks on four legs, a green flame looks back at us with two beady eyes, or a wavy, blue being takes on the physical persona of wind.

      “Walking Daydream” (2024), clay and foam clay, 49 x 36 x 46.5 centimeters

      Many of Jung’s works tap into universal human experiences and concerns, like dreams, possibilities, and ego. “Potential,” for example, highlights a slightly bulbous, pink form that stands on four legs, as if preparing to metamorphose into something altogether new.

      Jung’s work has recently shifted from an emphasis on figures to more abstracted creatures, focusing on textures and color. After an experience that deeply impacted her personal life, she felt encouraged to explore new directions in her work. “I’m coming out of an old shell and welcoming a new world,” she says.

      Jung will open a solo exhibition on November 16 at Simple Object in Taipei. Find more on Instagram.

      “Mass of Ego” (2024), clay and synthetic resin, 14 x 19.3 x 34.5 centimeters

      “Burn Green” (2024), clay, 29.5 x 14 x 47.2 centimeters

      “Potential” (2019), clay, 17 x 12 x 32 centimeters

      “Free Animal” (2024), clay, 43.5 x 16.3 x 38 centimeters

      “Wind” (2024), clay, 18.5 x 14 x 54.5 centimeters

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      Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine

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      Installation view of ‘La Jaula de Oro’ at Museo de Arte de Zapopan. Photo by Lazarillo. All images courtesy of the artist and Museo de Arte de Zapopan, shared with permission

      Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine

      October 1, 2024

      Art Social Issues

      Kate Mothes

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      In a pink, glowing Rococo setting, Yvette Mayorga’s first solo exhibition in Mexico dives into nostalgia, teenage dreams, and how sometimes a sugary coating can conceal crucial truths.

      For La Jaula de Oro—The Golden Cage—at Museo de Arte de Zapopan, the Chicago-based artist (previously) has created four acrylic-piped paintings on canvas and a series of mixed-media sculptures. These include a 1974 Datsun coated in crochet, plush and plastic toys, acrylic nails, faux fur, rosaries, and other ephemera. Pop singer Selena’s song “Dreaming of You” wafts from the car stereo.

      “Bien chiqueada” (2024), acrylic nails, nail charms, toy snake, toy scorpion, clock, scorpion belt, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters

      At first glance, Mayorga’s compositions appear like delicate, frosted confections, glittering with nail charms and predominantly made in various shades of pink. But upon closer inspection, reminders of a slightly more unsettling reality begin to emerge, such as scorpions, clocks, or mirrors—nods to our relationship with time, others, and our mortality.

      The artist draws on the tradition of vanitas painting, a style popularized during the Dutch Golden Age, often in the form of still lifes brimming with visual cues that power and glory mean nothing when confronted with the inevitability of death.

      For Mayorga, the supple forms of piped bows, rosettes, and borders belie important messages centered around border control, immigrant labor, rampant capitalism, and pop culture.

      Akin to the way cookies or cakes are created to be literally consumed, the artist toys with the notion of fleetingness. “La princesa (Ride or Die),” for example, captures a sense of ephemerality and impermanence: “here today and gone tomorrow,” says curator Maya Renée Escárcega.

      Detail of “Bien chiqueada”

      The artist invites viewers into a seemingly carefree, saccharine space evocative of the opulence of the late 18th century—the era of Marie Antoinette and her famous—if mythical—quote: “Let them eat cake.” Considered the “Rococo Queen,” she is associated with luxury and frivolity, and she came to symbolize the excesses of the wealthy during a period when many people couldn’t afford bread, let alone the delicacies of cake.

      Mayorga’s primary medium is acrylic applied using a pastry bag. She references women workers—especially women of color—from whom colonial discourse stripped notions of femininity assigned to white women. She expands upon the framework of Rococo to analyze 21st-century issues, simultaneously serving us a reminder of the sacrifices and toil required to produce what capitalist society consumes.

      La Jaula de Oro and continues in Zapopan through January 5. Find more on Mayorga’s website and Instagram.

      Detail of “Banquete (Banquet)” (2024), hi-temperature ceramics, resin candle holders, bronze figures, and candles, dimensions variable. Photo by Lazarillo

      Installation view of La Jaula de Oro

      “Capitalist Clown” (2024), collage, acrylic marker, pastel, toy scorpion, and acrylic piping on canvas, 91. 44 x 121.92 centimeters

      Detail of “La princesa (Ride or Die)” (2024), crochet, plush toys, plastic toys, acrylic nails, rosaries, faux fur, belt buckles, vinyl stickers, ceramic tchotchkes, clock, toy cell phone, found license plate, trophy, wood, 161 acrylic roses, and acrylic piping on a 1974 Nissan Datsun, 4 x 1.6 meters. Photo by Lazarillo

      Detail of “La princesa (Ride or Die).” Photo by Lazarillo

      “Made in Mexico (Fecit Mexici)” (2024), mirror, hand mirror, acrylic nails, nail charms, clock, toy scorpion, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters

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    • 125 Shares189 Views

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      Honeybees Have the Final Say in Ava Roth’s Collaborative Sculptures

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      Detail of “Horseshoe, Quills and Thorns,” encaustic, Japanese paper, horseshoe, porcupine quills, thorns, embroidery floss, metallic thread, seed beads, natural honeycomb, and local Ontario maple frame, 17.5 x 17.5 inches. All images courtesy of Ava Roth, shared with permission

      Honeybees Have the Final Say in Ava Roth’s Collaborative Sculptures

      September 30, 2024

      Art Nature

      Kate Mothes

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      Bees get a bad rap a lot of the time, despite the immense benefits they provide—and those go way beyond honey. Responsible for pollinating one-third of the world’s food supply, the buzzing insects ensure we’re able to enjoy coffee, tomatoes, strawberries, vanilla, and myriad other kinds of produce.

      The climate crisis, habitat destruction, pesticides, and invasive species are among numerous factors that have led to an unprecedented decline in honeybee populations during the past two decades. But for Toronto-based artist Ava Roth (previously), visibility is a major tenet of her unique, collaborative practice.

      “Kintsugi Platter, Black,” 21 x 21 inches

      Within concentric wooden frames, Roth embroiders patterns with thread and beads, creating the groundwork for the next phase of her process: inserting individual works into her hive and inviting the bees to determine the final composition.

      The human relationship to nature, mirrored by what Roth describes as the”tension between control and wildness,” considers our role in shaping nature to our own needs and the consequences of our actions.

      Bees instinctively build walls of prismatic cells to protect their brood and store honey and pollen, and the organic geometry doubles in Roth’s pieces not only as an iconic aesthetic but also as a reminder of the creatures’ remarkable abilities.

      Recently, the artist has been experimenting with three-dimensional structures and round frames, departing from the rectangular format traditionally associated with hives. She’s also embarked on a new kintsugi-style series in which the bees “mend” broken shards of pottery with their comb.

      Find more on Roth’s website and Instagram.

      Detail of “Broken Pottery, Mended,” 21 x 21 inches

      Detail of “Kintsugi Platter, Robin’s Egg Blue,” 21 x 21 inches

      “Broken Pottery, Mended,” 21 x 21 inches

      “White Beaded Lace, Circle,” encaustic, Japanese paper, Japanese lace, embroidery floss, seed beads, natural honeycomb, and local Ontario maple frame, 17.5 x 17.5 inches

      Honeycomb objects made from rock, deer antler, basket, and egg with pine needles, wrapped in waxed metallic cord

      “Horseshoe, Quills and Thorns”

      Detail of “Japanese Lace, Gold and Black,” encaustic, Japanese paper, Japanese ribbon, metallic thread, seed beads, natural honeycomb, and local Ontario maple frame, 17.5 x 17.5 inches

      “Deer Antler and Honeycomb,” deer antler, waxed cord, and honeycomb

      “Sea and Sky, Blue Kyanite Encaustic,” Japanese paper, blue kyanite crystals, gold leaf, embroidery floss, and natural honeycomb on wood panel, 17.5 x 17.5 inches

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    • 113 Shares179 Views

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      Jessica Drenk Transforms Thousands of Pencils into Organic Vessels

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      All images © Jessica Drenk, shared with permission

      Jessica Drenk Transforms Thousands of Pencils into Organic Vessels

      September 27, 2024

      Art

      Kate Mothes

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      Undulating, organic sculptures emerge from thousands of drawing utensils in Jessica Drenk’s ongoing Implements series. Fascinated by the aesthetics and behavior of multiples of mass-produced objects, the artist (previously) chose pencils because of their stackable shape and “the thought that, if I sanded them, I could make a sculpture that drew on itself in the making: sandpaper would smear the graphite while the piece was being shaped,” she tells Colossal.

      Implements explores the relationship between interior and exterior, the container and the contained. The inside of each work showcases the out-of-the-box objects, while the outside has been cut and smoothed to reveal lengths of graphite and bare wood.

      Detail of “Implement 36”

      Drenk has been making sculptures with pencils for several years, and the shapes continue to evolve. One of the challenges of working with the material is the difficulty of gluing pre-painted, non-porous surfaces together. “In response to this, I once ordered 30,000 unpainted pencils to make larger sculptures that could be glued into more dynamic shapes,” she says.

      Over time, the Implements series has influenced further sculptures, such as “Speleothem” and “Formation,” in which the pencils compose larger dynamic forms. “In a sense, both aspects of the pieces resemble nature,” Drenk says. “Even the hexagon is found in nature, from beehives to columnar basalt rocks.”

      Drenk is currently working on a geology-inspired series called Aggregate that puts junk mail to use, along with wall sculptures made from books. Explore more on the artist’s website and Instagram.

      “Speleothem”

      “Implement 44”

      “Implement 73”

      Detail of “Formation”

      Implements series

      “Formation” in progress

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    • 113 Shares99 Views

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      Josh Gluckstein Crafts a Teeming Reef from Recycled Cardboard

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      “Reef.” Photo by Alexandre Vazquez, © Michelangelo Foundation. All images courtesy of Josh Gluckstein, shared with permission

      Josh Gluckstein Crafts a Teeming Reef from Recycled Cardboard

      September 24, 2024

      Art Nature

      Kate Mothes

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      For the past four years, London-based artist Josh Gluckstein has highlighted the potential of an everyday material—recycled cardboard—to bring animal sculptures to life (previously). In his most recent piece, “Reef,” he expands on individual portraits to create a meticulously detailed two-and-a-half-meter-tall marine habitat teeming with a variety of fish and coral.

      “I fell in love with scuba diving ten years ago and was amazed that there was an entirely new world to discover underwater,” Gluckstein says. “I wanted to bring that experience to life on dry land.”

      Photo by Alexandre Vazquez, © Michelangelo Foundation

      Gluckstein was invited to participate in Homo Faber 2024 in Venice, which this year traces the theme, “The Journey of Life.” Among the work of more than 400 artisans from around the world, “Reef” is Gluckstein’s most ambitious piece to date, featuring more than 50 different marine species.

      Sea turtles, an octopus, clown fish, and a blue spotted ray are among the creatures that swim around a column of coral. “The piece celebrates the wonder and rich biodiversity of our oceans, while raising awareness for the fragility of—and challenges facing—our marine life,” Gluckstein says.

      Homo Faber 2024 continues through September 30. Find more on the artist’s website and Instagram.

      You might also enjoy Ghost Net Collective’s marine animal sculptures made from the salvaged ocean waste that endangers them.

      Photo by Alexandre Vazquez, © Michelangelo Foundation

      Photo by Alexandre Vazquez, © Michelangelo Foundation

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    • 163 Shares139 Views

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      OSGEMEOS Unearths Their Fantastic Childhood Universe in Their Largest U.S. Exhibition to Date

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      Installation view of “Untitled (92 Speakers)” (2019), “Gramophone” (2016), and “1983 – THE BOOMBOX” (2017). Photo by Rick Coulby. All images © OSGEMEOS, shared with permission

      OSGEMEOS Unearths Their Fantastic Childhood Universe in Their Largest U.S. Exhibition to Date

      September 20, 2024

      Art

      Grace Ebert

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      As children in São Paulo, twin brothers Gustavo and Otavio Pandolfo invented a universe they called Tritrez. The mystical place was home to myriad yellow figures with bulbous heads and lanky bodies and promoted strange, yet friendly, behavior.

      “Yellow has been a very spiritual color for us since we started drawing,” the pair told their gallery, Lehmann Maupin. “When we were drawing at our mother’s house, the sun would come through the windows, and the studio would become yellow. So we always found it mystical, peaceful, and harmonious.” 

      Installation view of OSGEMEOS, “Chuva de verão (Summer Rain)” (2008), “O abduzido (The Abductee)” (2020), “The Garden” (2020), and “The Sunset” (2019). Photo by Rick Coulby

      Operating largely as one with shared dreams and the uncanny ability to finish each others’ thoughts, the brothers work as OSGEMEOS (previously), which translates to “the twins” in Portuguese. Rooted in graffiti and street art, their works will be on view at the Smithsonian’s Hirshhorn Museum and Sculpture Garden later this month for their largest U.S. exhibition to date.

      Comprising 1,000 paintings, sculptures, photos, and archival objects, OSGEMEOS: Endless Story traces the brothers’ creative evolution, recreating details from their childhood bedrooms and the infrastructure and walls they painted murals on in their youth. Rarely seen sketches and early influences like their mother’s embroideries are on view alongside many pieces never shown outside their native Brazil.

      Hip-hop and breakdancing feature prominently in OSGEMEOS’ work, including in the sprawling installation “Untitled (92 Speakers).” Yellow and brown faces peer out from boxy speakers and congregate together on a pastel pink wall. A symmetric gramophone and boombox painted similarly stand on the gallery floor below and reference the artists’ enduring interest in music and its influence on culture.

      Other works lean further into the sci-fi and supernatural realms. Standing at the center of one gallery is a tall, prismatic sculpture, which depicts one of their signature figures encircled by an alien beam projecting from a flying saucer. Likewise, the 2014 painting “Tritez” unearths the more fantastical details of the imagined realm: a blue patchwork whale cradling buildings on its back flies through the sky, two siren-like characters dance in the moonlight, and a trio of figures clamber on top of one another in colorful bizarre clothing.

      “Tritrez” (2014), spray paint and sequins on wood. Photo by Rick Coulby

      “Tritrez for us is our soul. It’s our, let’s say, parallel world that we believe (lives) inside of us,” they say in a video. “We believe that everybody (has) some kind of Tritrez inside. But sometimes you forget to see and sometimes you are afraid to see.”

      The first monograph of OSGEMEOS’ work written in English accompanies the exhibition, which runs from September 29, 2024, to August 3, 2025, in Washington, D.C. There’s much more on the brothers’ Instagram, so head there to dive deeper into their whimsical world.

      Detail of installation view of “Untitled (92 Speakers)” (2019), “Gramophone” (2016), and “1983 – THE BOOMBOX” (2017). Photo by Rick Coulby

      “1980” (2020), mixed media with
      sequins on MDF, 86 1/4 × 125 9/16 × 2 inches

      “Retratos (Portraits)” (2023–2024), mixed media on MDF. Photo by Rick Coulby

      Detail of “Retratos (Portraits)” (2023–2024), mixed media on MDF. Photo by Rick Coulby

      “O dia da festa de break (The
      Breakdancing Party’s Day)” (2016), mixed media on panel, 80 5/16 × 64 9/16× 7 7/8 inches.
      (204 × 164 × 20 cm). Photo by Max Yawney

      Detail of an installation view of ‘OSGEMEOS: Endless Story.’ Photo by Rick Coulby

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