Embodying Vibrance and Joy, Gio Swaby’s Patterned Portraits Celebrate Blackness and Womanhood
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#textiles
December 28, 2022
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Serene Wooded Landscapes Nestle Inside Introspective Silhouette Paintings by Megan Aline
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#nature
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#silhouettesJanuary 24, 2022Grace Ebert“Everything Changes,” acrylic on panel, 16 x 12 inches. All images © Megan Aline, shared with permissionIn Unseen Roots, artist Megan Aline fills silhouettes with brush, autumn foliage, and tall, skinny trees that span from torso to crown. Her solo show at Robert Lange Studio in Charleston consists of dozens of acrylic works that expose a small glimpse of a landscape hidden within each figure. “As we become increasingly disconnected from the natural world, I think the memory of nature becomes even stronger inside each of us,” the artist shares. “If you only spent weekends in the woods or summers at your grandmothers or you have a park you visit from time to time, it becomes the quiet space inside you that you can escape to even when you aren’t there.”To render the contemplative works, Aline paints inside a stenciled silhouette on panel, which creates crisp outlines of each figure—she shares videos of this process on Instagram—and visible brushstrokes in pastel and neutral tones comprise the paintings’ backdrops. “As an artist, I spend a lot of time reflecting inwardly as I paint outwardly,” she writes. “I like the idea that we have an ‘inner landscape,’ a map created from emotions, ideas, and sensations collected throughout our lives.”Unseen Roots is on view through January 28, and you can shop prints of Aline’s introspective silhouettes on her site. (via Supersonic Art)“Deepest Pathways,” acrylic on panel, 16 x 16 inches“Deeper Time,” acrylic on panel, 20 x 20 inchesTop: “Constantly Growing,” acrylic on panel, 20 x 30 inches. Bottom left: “Emergence,” acrylic on panel, 18 x 24 inches. Bottom right: “Radiance,” acrylic on panel, 16 x 16 inches“Deeper Change,” acrylic on panel, 20 x 20 inches“Positive Light,” acrylic on panel, 8 x 8 inches“An Underlying Message,” acrylic on panel, 24 x 24 inches“Beyond the Surface,” acrylic on panel, 16 x 16 inches
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An Eerie, Fairytale Forest and Silhouette Creatures Sprawl Across a Three-Story Mural by David de la Mano
Art#animals
#forest
#murals
#narrative
#night
#silhouettesSeptember 30, 2021
Grace EbertAll images by Sol Paperán, Nicolás Pezzino and David de la Mano, courtesy of David de la Mano
Set against a forest in shades of blue and white, a dark, twisted fairytale lines the entrance hall of the Catholic University of Uruguay. The three-story mural by David de la Mano is titled “Cosmos” and uses the Spanish artist’s signature silhouette figures and thin, branch-like lines to create a sinister narrative consumed by mystery and disorder: hybrid creatures escape down a stairwell, an army marches along the balcony, and myriad characters twist and flail in chaotic clusters.
Completed with the assistance of artist Andrés Cocco, the large-scale piece is derived from the shared etymological root of “university” and “universe,” which means a totality or everything that exists. “Cosmos” evokes Fernando Gallego’s 15th-Century painting of constellations and the zodiac that once cloaked a vaulted ceiling at the University of Salamanca library in de la Mano’s hometown, although this new iteration is devoid of stars. “It is a work full of mystery… There is my own iconography. There is the idea of migration, a constant in my work from years ago,” the artist says in a statement. “The stars were replaced by two forests. There is a dark forest that does not let you see, and there is a clear forest in which the light comes.”
After spending years in Uruguay, de la Mano is back in Salamanca, and you can follow his works on Instagram.#animals
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Moonlit Forests, Fish, and Branches Populate Kirie Silhouettes Cut from a Single Sheet of Paper
Art#nature
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#silhouettesApril 20, 2021
Grace EbertAll images © Kanako Abe, shared with permission
From a single sheet of white paper, Kanako Abe (previously) carves exquisite silhouettes of children and young adults who are awash in seas of fish or occupied by quiet campouts. She utilizes the traditional Japanese art form called Kirie—which translates to cut picture—a technique that Abe begins with a sketch before slicing the delicate material with a variety of knives. “I don’t have a chance to change the design once I start cutting, so I find it challenging,” the Seattle-based artist says. “I have to think of the right patterns, controlling negative space, and make sure all the lines are connected so the art won’t fall apart once it’s finished.” A single piece can take anywhere from six to 60 hours to complete.
Abe shifted to full-time in 2020 and now balances her practice between commissions and ongoing personal projects, a few of which she’ll be sharing soon on Instagram. No matter the context, each artwork reflects a broader connection to nature and its ability to provide an escape from the complications and heartbreak of the current moment. “I find the process of art-making is a way for me to meditate on everyday thoughts and emotions, and it’s much easier for me to express complex feelings or emotions visually than verbally,” she tells Colossal. “The cycle of nature teaches us about the power of letting go or accept things as they are and that there’s a silver lining in everything.”
If you’re in San Francisco, you can see Abe’s intricate portraits at her September solo show at Rare Device. She’ll also be included in a group exhibition at Today’s Gallery in Ehime, Japan, which opens in December.#nature
#paper
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#silhouettesDo stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!
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