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Homewares and Laundry Take on Lives of Their Own in Tobias Izsó’s Mixed-Media Sculptures
by Aurelia Butler 28 May 2025, 12:36
“#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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An Exhibition Celebrates the Self-Taught Immigrant Artists Shaping Chicago
by Aurelia Butler 23 May 2025, 19:20
Alfonso “Piloto” Nieves Ruiz, , born Querétaro
Mexico, 1975, “In the name of progress,” (2017), mixed media, 69 5/8 x 26 x 24 inches. Photo by Photo by Lisa Lindvay
. All images courtesy of Intuit Art Museum, shared with permission
An Exhibition Celebrates the Self-Taught Immigrant Artists Shaping Chicago
May 23, 2025
ArtSocial Issues
Grace Ebert
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Built on the traditional homeland of the Sauk, Fox, and Potawatomi peoples, Chicago is a city of immigrants. Just 13 years after the city was incorporated in 1837, more than half of its residents were born overseas, having flocked to the region from across Europe and Asia alongside tens of thousands of others. Today, Chicago is home to 1.7 million immigrants, totaling 18 percent of the population.
The inaugural exhibition at the newly renovated Intuit Art Museum celebrates this history by bringing together 22 artists with ties to the city. Comprised of 75 works across mediums, Catalyst: Im/migration and Self-Taught Art in Chicago highlights those who worked in the Midwest and established their practice outside the traditional art world models.
Carlos Barberena, born Granada, Nicaragua, 1972, “Exodus” (2019), linocut on HW Rives paper, edition of 25, 24 x 19 inches
Intuit is a longstanding champion of self-taught artists. Established in 1991, the museum has recognized the incredible creative contributions of those operating outside the mainstream due to economic, societal, or geographic reasons.
One such artist is Henry Darger, who worked as a hospital custodian by day and produced an enormous collection of drawings, watercolor paintings, and cut paper works only discovered after his death. While Darger’s works now sell for prices in the high six figures, his story is unique. Historically, self-taught artists don’t often attain the critical or financial recognition of their traditionally trained peers.
Catalyst comes at a particularly relevant moment in the U.S., as immigrants are under increasing threat. Spotlighting works with a wide array of topics and approaches, the exhibition creates a sort of contemporary tapestry of those shaping Chicago’s cultural landscape since the mid-20th century. The show intends to highlight “artists deserving of greater attention, while posing questions about access to the art world and how art comes to be defined and valued,” a statement says.
Included are four impeccably detailed paintings by Drossos P. Skyllas (1912-1973), an Ottoman-born artist known for his enchanting hyperrealistic portraits. Charles Barbarena works with a similar devotion to precise mark-making in his portraiture. The Nicaraguan artist creates linocuts that frame instances of trauma and adversity with elaborate floral motifs, his depictions of people continually harnessing compassion and resistance.
Drossos P. Skyllas, born Kalymnos, Ottoman Empire (now Greece), 1912-1976, “Greek Bishop” (c. 1967), oil on canvas, 65 x 41 1/2 inches
Found object and mixed-media sculpture features prominently, too. The soaring miniature cathedral by Charles Warner, for example, interprets the sacred spaces of his childhood in Prussia through hand-carved wood and pastel paint. There’s also the figurative assemblage of Alfonso “Piloto” Nieves Ruiz, who sculpts a rendition of the Statue of Liberty. With a torso of unidentifiable hands caked in soil and detritus at her feet, Piloto’s “In the name of progress” complicates the symbol of freedom.
Catalyst is on view through January 11, 2026.
Charles Warner, born Prussia (now Poland), 1884-1964, “Cathedral III” (c. 1955) mixed media, 48 1/16 x 16 1/8 x 20 7/8 inches. Photo by Mark Widhalm
Charles Warner, born Prussia (now Poland), 1884-1964, “Cathedral III” (c. 1955) mixed media, 48 1/16 x 16 1/8 x 20 7/8 inches. Photo by Mark Widhalm
Photo by Lisa and Nick Albertson
María Enríquez de Allen, American, born Allende, Mexico, 1907-1999, “Untitled (New life goat skull)” (1997), mixed media, 8 ¾ x 7 x 10 ½ inches. Photo by Lisa Lindvay
Marion Perkins, American, born Marche, Arkansas, 1908-1961, “Untitled (Wire head)” (c. 1955), steel wire, 19 x 12 x 13 inches. Photo by Lisa Lindvay
Bronislaw “Bruno” Sowa, American, born Lubomierz (Poland), 1915-1995, “Untitled” (1994), oil on board in carved pyrography frame with glass jewels, 33 x 24 x 1 1/4 inches. Photo by Lisa Lindvay
Photo by Lisa and Nick Albertson
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Descend into ICA SF’s New Space for Masako Miki’s Otherworldly ‘Midnight March’
by Aurelia Butler 20 May 2025, 16:00
Installation view of ‘Midnight March’ at ICA SF. Foreground: “Possessed Ancient Monolith Ghost” (2023), wool on XPS foam and walnut wood, 46 x 40 x 32 inches. Photo by Nicholas Lea Bruno. All images courtesy of the artist, ICA SF, and Jessica Silverman Gallery, shared with permission
Descend into ICA SF’s New Space for Masako Miki’s Otherworldly ‘Midnight March’
May 20, 2025
Art
Kate Mothes
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Huddled together like birds of a feather or standing resolutely on their own, Masako Miki’s vibrant, playful sculptures come to life at the Institute of Contemporary Art San Francisco. Whether standing on spindly legs, seated on the ground, or suspended from the ceiling, there is a sense of movement and energy in the room, as if each characterful object could walk or roll away at the slightest provocation.
Miki’s solo exhibition Midnight March is now open at ICA SF’s new exhibition space, The Cube, which activates a former bank building as a site for non-traditional exhibition presentations. The Japanese artist sets her mixed-media pieces, which incorporate materials like wool, bronze, wood, ink, and watercolor, into a darkened, starry interior in which each vibrant, cartoonish individual appears to glow.
“Umbrella’s Whispers” (2025), wool on XPS foam, walnut wood, 48 1/2 x 14 x 14 inches. Photo by Nicholas Lea Bruno
Largely abstract in their nebulous forms, felted textures, and colorful patterns, Miki’s sculptures often hint at a life force inside. A single eye peers from a blue shape in “Enchanting Pine Tree Reaching Clouds” or human-like legs extend to the floor in “Umbrella’s Whispers.” We begin to realize that we’re being observed as much as we are observing.
“Midnight March helps us understand deeper aspects of Miki’s ‘othered’ figures and recognize difference as a positive force, even as we are unsettled by it,” says an exhibition statement.
The indigo sky throughout the exhibition complements Miki’s two-dimensional works, which she calls Night Parades, welcoming visitors into an experiential context. The artist says, “I hope that my works generate the kind of curiosity and empathy that enables us to come together.”
Midnight March continues through December 7 in San Francisco, and you can explore more on the artist’s website and Instagram.
“Midnight March (Blue and Red Violet)” (2025), watercolor on paper, 44 5/8 x 63 1/2 x 2 inches. Photo by Phillip Maisel
Foreground: “Watcher with Continuous Eyes” (2018), wool on XPS foam, 18 x 56 x 16 inches. Photo by Nicholas Lea Bruno
“Enchanted Pine Tree Reaching Clouds” (2024), wool on XPS foam and walnut wood, 32 x 23 x 15 1/2 inches. Photo by Phillip Maisel
“Fox Delivering Messages” (2025), patinated bronze, 15 x 11 1/2 x 5 inches. Edition of 4 plus 2 artist’s proofs. Photo by Nicholas Lea Bruno
“Ancient Tree Witness” (2023), wool on XPS foam and walnut wood, 76 x 48 x 42 inches. Photo by Steve Ferrera
“Awa-dancing Cat Leading the Crowds” (2025), patinated bronze, 15 1/2 x 13 x 7 inches. Edition of 4 plus 2 artist’s proofs. Photo by Nicholas Lea Bruno
“Midnight March (Blue and Deep Gray)” (2025), watercolor on paper, 44 5/8 x 63 1/2 x 2 inches. Photo by Phillip Maisel
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Floral Quilted Portraits by Maria A. Guzmán Capron Cultivate Care and Love
by Aurelia Butler 14 May 2025, 18:53
Detail of “Otra Vez.” All images courtesy of Lyles & King, shared with permission
Floral Quilted Portraits by Maria A. Guzmán Capron Cultivate Care and Love
May 14, 2025
Art
Grace Ebert
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For thousands of years, flowers have been a rich source of symbolism. Dating back to the Ottomans, floriology, or the language of flowers, blossomed in the Victorian era when a bouquet functioned as a nonverbal code. The delicate sweetpea, for example, might have been given as a thank you to a particularly generous host, while buttercups would tell the recipient that the sender thought them childish and immature.
Maria A. Guzmán Capron (previously) references the timeless expressions of flowers for Solo Pienso en Volver a Verte, which opens this week at Lyles & King. Translating to “I only think about seeing you again,” the solo exhibition comprises the artist’s signature textile portraits of opulently patterned fabrics in a layered patchwork. Soft and plump with batting, the quilted characters are each unique, although Capron sometimes uses the same secondhand material on several pieces.
“Déjame Llevarte”
Encircled in hand-dyed fabrics, the figures in this body of work are often doubled or conjoined, as in the embracing women of “Otra Vez” or the two-faced subject of “Echa de Pedacitos.” Love, warmth, and protection feature prominently, as hands grasp for one another or emerge as a three-dimensional gesture. Capron envisions these layered, hybrid forms as a way to visualize the various identities, experiences, and memories within all of us.
The artist also stitches and screenprints a wide array of flowers on faces, garments, and throughout the lush surroundings. Sometimes abstract and often indeterminate, the blooms share stories and messages of desire that might be unspeakable or better communicated through a symbol of affection. Tending to love in all of its forms is the thread that runs through each work, as Capron welcomes us into a world in which compassion and care are the most beautiful gifts.
Solo Pienso en Volver a Verte runs through June 21 in New York. Find more from Capron on Instagram.
“Otra Vez”
“Echa de Pedacitos”
“Para Que Me Mires”
“Te Dejé Quererme”
Detail of “Y Comencé”
“También Allí”
“Algo Escondido”
Detail of “Otra Vez”
“Y Comencé”
Detail of “Te Dejé Quererme”
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Paola Grizi Adds New Meaning to ‘Literary Figures’ in Emotive Bronze Sculptures
by Aurelia Butler 14 May 2025, 14:16
“Another Place,” Casart Edition, bronze, 32 x 30 x 35 centimeters
Paola Grizi Adds New Meaning to ‘Literary Figures’ in Emotive Bronze Sculptures
May 14, 2025
Art
Kate Mothes
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In the emotional bronze and terracotta sculptures of Paola Grizi (previously), faces and hands merge with pages of books and manuscripts. Handwriting slides off the leaves onto skin and reliefs of eyes, noses, and mouths peer outward like knowledge and stories personified. Many of her works are scaled to sit on interior surfaces, while others, like “Inner Motion” or “Looking Ahead” take on monumental proportions.
Grizi currently has work permanently on view at Marciano Contemporary in Paris, Bel Air Fine Art in Luxembourg, and Gallery Van Dun in Oisterwijk, The Netherlands. This summer, pieces will also be included in a presentation at Gallery Maner in Port-Aven, France. See more on the artist’s website.
“Looking Ahead,” Casart Edition, bronze, 120 x 110 x 20 centimeters
“Background,” Casart Edition, bronze, 32 x 12 x 15 centimeters
“Inner Motion,” Casart Edition, bronze
“Kiss,” Casart Edition, bronze, 35 x 37 x 20 centimeters
“Boundless,” terracotta
“Composition,” Casart Edition, bronze, 30 x 35 x 25 centimeters
“Multiple Lectures,” Casart Edition, bronze, 35 x 30 x 20 centimeters
Work in progress in the artist’s outdoor studio
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‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage
by Aurelia Butler 12 May 2025, 15:30
Installation view of ‘Level Up.’ Photos by Ladina Bischof. All images courtesy of GAFFA and Kunsthalle Arbon, shared with permission
‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage
May 12, 2025
Art
Kate Mothes
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When you think of an orange safety cone, you might imagine rows of the small reflective objects placed around temporarily parked vehicles or, say, next to potholes. But a stroll through GAFFA’s recent exhibition, Level Up at Kunsthalle Arbon, and the everyday sight took the form of an unmissably imposing, monumental structure.
GAFFA is a collective founded nine years ago by Wanja Harb, Linus Lutz, Dario Forlin, and Lucian Kunz. Through a signature blend of humor, irony, and an interdisciplinary approach involving zines, collages, photography, sculpture, and installation, the group challenges our perceptions of physical space, history, and society.
In their sometimes absurd installations, GAFFA often brings the outdoors in, like importing a beach chair and umbrella into a concrete room or constructing an enormous brown slug that slid across a gallery floor. In Level Up, traffic serves as the primary focus—both its symbols and the fine line between regulation and chaos.
GAFFA transformed the Swiss art gallery into a parking garage containing an extra-long stretch limo, an entry ticket, orange cone, and double-arrow directional sign. We don’t know to whom the car belongs or where they are.
Viewers are transported into a kind of Alice in Wonderland experience where the scale of everything feels befuddling and incongruent. The car, though life-size, is made of cardboard, and the yellow sign is an oil painting.
“Underground garages and parking garages are places we usually only notice in passing,” the gallery says in a statement. “They are purpose-built ‘non-places’ to which hardly anyone pays attention, yet they have their own aesthetics: the strict geometry of the parking spaces, the rhythmic movement of the barriers, the seemingly random arrangement of the holes on a parking ticket.”
Anyone who has driven into a large garage knows the anxieties of a gate not opening when it’s supposed to or the ticket machine not working. Within the large yet controlled space of the Kunsthalle Arbon, Level Up begged the question: how does one get out of here? Explore more on the collective’s website.
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Caio Marcolini Weaves Delicate Metal Mesh into Spawning Cellular Sculptures
by Aurelia Butler 9 May 2025, 14:59
All images courtesy of Caio Marcolini, shared with permission
Caio Marcolini Weaves Delicate Metal Mesh into Spawning Cellular Sculptures
May 9, 2025
Art
Grace Ebert
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Caio Marcolini’s fascination with organic systems began simply enough. It was “the trail left by the sea on the sand, the intertwined roots of trees within the forest, (and) the flowers falling from trees” that he found enchanting. But then, when his first child was born in 2021, he began investigating how these same winding, looping, knotted patterns appeared inside the body.
What resulted is a series of roving sculptures woven with thin strips of brass, copper, and iron wire. Hollow tubes emerge from delicate bell-like forms secured to a wall, while occasional, long drips drop from the upper area and dangle mid-air.
Trained as a goldsmith, Marcolini incorporates jewelry-making techniques and industrial design principles into his painstaking, entirely hand-powered process. Using a mallet, dowels, and various manual tools, the Brazilian artist creates a perfectly uniform mesh that he then shapes into supple, rounded forms. “I rarely draw—just small sketches—and most of the time, I imagine a shape using initial parameters,” he says. “The compositions are made in an exploratory way, fluid and organic, as I weave the structure and experiment on the studio wall. I can say it’s a very intuitive process.”
As the artist sees it, these individual, linked metal pieces are like single cells or DNA that repeat again and again, spawning new forms. While distinct in shape, the sculptures are still malleable, transparent, and abstract. The works resemble the circuitous systems found in the human body, but also the creatures found in forests and oceans, and occupy a sort of ambiguous, hybrid space.
Marcolini titles his collections with words like colony, system, captured, and bilateral. Referencing the relationship between single components and the larger whole, each body of work becomes a sort of community of organisms that seem to take on a life of their own. Rather than impose a particular interpretation, the artist leaves the exact form of the works open-ended, as if they might morph into new life at any moment.
Not Every Repetition is a Return, Marcolini’s solo exhibition, is on view through May 23 at Galeria Lica Pedrosa in São Paulo. Find more of his work on his website and Instagram.
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Ethereal Weavings Merge Architecture and Nature in Élise Peroi’s ‘For Thirsting Flowers’
by Aurelia Butler 8 May 2025, 14:09
Installation view of ‘For Thirsting Flowers.’ All images courtesy of the artist and CARVALHO PARK, New York, shared with permission
Ethereal Weavings Merge Architecture and Nature in Élise Peroi’s ‘For Thirsting Flowers’
May 8, 2025
Art
Kate Mothes
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Imagine standing at a window at dawn as the pale yellow morning light filters through the trees, slowly illuminating flower petals and setting the scene for birdsong. As you move around, the light dapples and changes, and details emerge or disappear around other forms. For Élise Peroi, this sensation provides a starting point for elegant textile sculptures.
Onto graceful wooden frames, the French artist weaves ethereal, layered screens evocative of dreamy portals to nature. “The luminosity of Peroi’s woven paintings is such that we might feel ourselves carried outside to watch the sky brighten, the air soft against our skin,” says Dr. Rebecca Birrell in an essay accompanying Peroi’s solo exhibition, For Thirsting Flowers, at CARVALHO PARK.
Detail of “Pensée I” (2025), painted silk and linen, 36 x 28 x 3 inches
The artist taps into the long tradition of European tapestries, which were used for both decoration and to help keep homes and churches insulated. Stitched by hand, the works could reach architectonic proportions and contain highly detailed figurative and narrative scenes. Peroi departs from customary associations with tapestries by removing the pieces from the wall and creating standalone, self-supporting structures.
She also emphasizes a kind of opening-up of the textile itself. The interactions between warp and weft are loose, delicate, and irregular. And each piece’s depth is determined by the wooden framework, details of which often jut outward in gentle yet willful angles.
Peroi’s sculptures appear to subtly morph as one walks around, merging internal and external perspectives. The artist explores relationships between emptiness, form, perception, and the built environment, hinting at recognizable shapes like flowers and foliage set against muted diamond-shaped geometric patterns or open spaces in the weave. And the frames serve both as display devices and looms—the process and finished piece merged into one.
For Thirsting Flowers continues in Brooklyn through May 23. See more on the artist’s website.
Installation view of ‘For Thirsting Flowers’ at CARVALHO PARK, New York
“La lune” (2025), silk, silver leaf, gouache, acrylic, and linen, 64 x 55 x 6 inches
“Pensée I” (2025), painted silk and linen, 36 x 28 x 3 inches
Installation view of ‘For Thirsting Flowers’ at CARVALHO PARK, New York
Installation view of ‘For Thirsting Flowers’ at CARVALHO PARK, New York
“Songes II” (2022), painted silk and linen, 55 x 78 x 6 inches
Detail of “Songes II”
Installation view of ‘For Thirsting Flowers’ at CARVALHO PARK, New York
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sculpture

More stories

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

Descend into ICA SF’s New Space for Masako Miki’s Otherworldly ‘Midnight March’

Floral Quilted Portraits by Maria A. Guzmán Capron Cultivate Care and Love

Paola Grizi Adds New Meaning to ‘Literary Figures’ in Emotive Bronze Sculptures

‘Level Up’ by GAFFA Transports Us to an Uncanny Parking Garage

Caio Marcolini Weaves Delicate Metal Mesh into Spawning Cellular Sculptures

Ethereal Weavings Merge Architecture and Nature in Élise Peroi’s ‘For Thirsting Flowers’

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