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Mason Pott’s new body of work captures botanical depth and diversity through tender paintings.
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Sebastian Foster’s Fall Print Set is the perfect spot to shop for the next piece to add to your collection or meaningful holiday gifts.
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Jeremy Miranda, “February.” All images courtesy of Sebestian Foster, shared with permission
Sebastian Foster Releases 20 New Prints for the Holidays
November 24, 2025
ArtSponsor
Sebastian Foster
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Sebastian Foster is thrilled to present its 2025 Fall Print Set, marking the 13th anniversary of the collection since publishing the first set in 2012. The new release features 20 works by well-established illustrators, printmakers, and painters from around the world.
The prints in this set have all been published as relatively small editions, hand-signed, and numbered by the artists. Encompassing an eclectic array of mediums and themes, the collection showcases work from artists previously featured on Colossal, including Jeremy Miranda’s dreamy oil paintings, Kenny Harris’s delicately rendered moka pots, and Grant Haffner’s trippy landscapes in bold color palettes.
Daniel Freaker, “Abode of Promise”
Based in Austin but operating solely online, Sebastian Foster shifted focus from a traditional brick-and-mortar gallery handling original work to working with artists to make their paintings into limited print editions, publishing more than 1,000 editions since opening in the late 2000s.
Whether you’re looking for the next piece to add to your collection or for meaningful holiday gifts, head to the gallery’s site to shop the 2025 Fall Print Set today.
Grant Haffner, “Goodnight”
Michael McGrath, “Bird Repellent”
Hiroki Kawanabe, “Night Drive”
Graham Franciose, “Well Shit”
Mia Bergeron, “Constellation”
Kenny Harris, “Moka With Lemons”
Matte Stephens, “New York”
Susan Abbott, “Blue House in Summer”
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Photos by Natacha Nikouline. All images courtesy of Jacques Monneraud, shared with permission
Ceramics Mimic Cardboard in Jacques Monneraud’s Trompe-l’œil Ode to Giorgio Morandi
November 3, 2025
ArtCraftDesign
Kate Mothes
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A quick glimpse of Jacques Monneraud’s vessels give the impression of lighthearted craft time, with cardboard tubes and layered cutouts affixed with pieces of clear tape. Perhaps they’re maquettes for larger pieces or simply playful experiments with an inexpensive material. But look closer, and you’ll discover there’s a lot more to these vessels than they first let on. Namely, they’re actually ceramic.
Monneraud’s ongoing CARTON series explores the relationship between material and perception. He blends three types of clay, then uses a potter’s wheel to throw the core shapes. When the form has dried to a leather-hard consistency, he trims where needed and refines the contours and edges, creating minute details that give the illusion of cut paper.
Achieving the corrugated detail is one of the most time-consuming and labor-intensive processes, which Monneraud accomplishes by pressing a handmade wooden tool into the clay to create a series of triangular impressions. When all of the pieces come together, it appears as though a few pieces of cardboard were patched together with adhesive. In fact, each container is totally water-tight, and they certainly won’t wrinkle or warp!
The artist recently conceived of a series of groupings in an ode to the subtle and playful oil paintings of Giorgio Morandi (1890-1964). The Italian artist is known for his muted still lifes of ceramics in which perspective, light, and shadow create nuanced compositions. He paid particular attention to the relationship between volume and line, often organizing items so that their tops all aligned or various elements appear to merge into other vessels’ details.
In Monneraud’s current exhibition Life, still., on view in Brussels, Morandi’s compositions provide a jumping-off point for the trompe-l’œil ceramics. Pitchers, vases, jars, and other shapes mimic those Morandi rendered in oil, revisiting the painter’s approach to “cosiddetta realtà,” or “so-called reality.” He was interested in “the notion that meaning lies not in the subject itself, but in the way it is observed,” says a statement for Monneraud’s show.
Life, still. is open on Saturdays through November at 38 Quai du Commerce in Brussels. Find more on Monneraud’s Instagram.
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“Chandelier.” All images courtesy of the artist and Moosey
Ant Hamlyn’s Vibrant, Smushed Still Lifes Preserve the Impermanent
October 9, 2025
Art
Kate Mothes
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Known for his squishy flowers and foliage made of polyurethane-coated fabrics, often encased-slash-smushed behind panels of clear acrylic, Ant Hamlyn has a sense of humor when it comes to art history.
Nodding to genres in Western art like vanitas still-life paintings, he creates textile reliefs that tap into our contemporary condition. From fast food to houseplants to a vibrant bar cart, his compositions playfully explore themes of indulgence, impermanence, beauty, and the quotidian.
“Greasy Spoon”
Until recently, Hamlyn has focused predominantly on cartoonish botanicals, and he now delves further into the still-life genre. Works like “Greasy Spoon,” “Shelf Life,” and “Drive-Thru” incorporate motifs of food and trendy home decor evocative of quirky snapshots one might see on Instagram, with people just out of frame.
The works seen here were recently presented by Moosey, and you can find more of Hamlyn’s work on his website and Instagram.
“Potwash (I Ought to Give You a Lesson in How to Clean Tables, Boy!”
“Drive-Thru”
“Berry and Rye”
“Shelf Life”
“Soft Vanitas”
“Megadeal”
“Houseplant”
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“Gored Cowboy” (2024-25), oil on linen, 84 x 68 inches. All images courtesy of the artist and HARPER’S, New York, shared with permission
In Hyperrealistic Oil Paintings, Chloe West Summons Magical Realism in the American West
April 10, 2025
Art
Kate Mothes
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Set against mountains, desert plains, and the cobalt blue skies one finds at high elevations, Chloe West’s striking oil paintings merge Dutch Golden Age iconographies with both mythic and everyday motifs of the American West.
West was born and raised in Wyoming, the peaks and pastures of which continue to influence her hyperrealistic figurative works. In her current solo exhibition, Games of Chance at HARPER’S, the artist draws on European portraiture and still life traditions in a series of self-portraits and tableaux challenging stereotypes of the West as a frontier molded by machismo.
“Cowboy Philosopher” (2024-25), oil on linen, 84 x 68 inches
“Cowboy Philosopher,” for example, portrays the artist in direct confrontation with the viewer, seated beside a mountain lion skull at a table covered with a celestial tapestry. The painting evokes Salomon Koninck’s “A Philosopher” (1635) and works by other Flemish artists of the 17th and 18th centuries, who often depicted alchemists and scholars in their studies accompanied by skulls, devices, and documents.
West subverts our understanding of cowboy culture as predominantly masculine, juxtaposing her own body with bones, small weapons, and fabric backdrops that establish a tension between life and death, folklore and daily life, and the sacred and the profane. Animal bones, thorns, and knives nod to memento mori, a reminder of the impermanence of life, while also invoking the supernatural and a sense of cyclical time. Casting deep, dark shadows, the glaring sun reveals all.
Portraying herself in western wear, West bonds to the continuum of the landscape and its customs and narratives while considering the way European attitudes and actions like Manifest Destiny shaped our understanding of the region. The artist taps into legend, history, and magical realism to blur distinctions between the past and contemporary experience. “Ultimately, throughout Games of Chance, West confronts the idealization of frontier heroism, dismantling its pre-established boundaries and expanding upon the legacy it left behind,” the gallery says.
Games of Chance opens today and continues through May 10 in New York City. Find more on the artist’s website and Instagram.
“Hand with Opossum Skull” (2024-25), oil on linen, 24 x 20 inches
Detail of “Gored Cowboy”
“Trapper’s Still Life” (2024-5), oil on linen, 48 x 38 inches
“Pearled Back” (2024-25), oil on linen, 58 x 46 inches
“Portrait with Capped Skull” (2024-25), oil on linen, 58 x 48 inches
“Pocketknife” (2024), oil on linen, 16 x 12 inches
“St. Veronica at the Geyser Basin” (2024-25, oil on linen, 48 x 38 inches
“Hand with Thorn” (2024-25), oil on linen, 24h x 20w in
Detail of “Cowboy Philosopher”
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“Pair of Covered Vases” (2024), acrylic, image transfer and marble dust emulsion on canvas, 56 x 62 inches. All photos by Jenny Gorman, courtesy of Hesse Flatow, shared with permission
Flowers Entwine Porcelain Animals and Objects in Lizzie Gill’s Surreal Tablescapes
March 31, 2025
Art
Grace Ebert
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“To have something be uncanny, you must first introduce the familiar,” says Lizzie Gill. Likening her compositions to a dining table’s place settings, the artist paints elaborate still lifes that explore the matriarchal lineages and how objects passed down shift in meaning over time.
The vivid works feature flat backdrops met by boldly striped or floral linens and a menagerie of animals seized by fresh blooms. A marble and dust emulsion, which Gill layers on the acrylic-painted panel with a baker’s piping tool, adds a life-like texture to the petals. She also utilizes an image-transfer process to translate various pieces from her mother’s porcelain collection, further enmeshing her works in domestic traditions.
“Wedgwood (Nightlines) II” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 24 inches
The still life, Gill says, is her preferred platform for exploring the tenets of Surrealism and what it means to be a steward. In “Lunar Still Life (Avec L’hippopotame),” for example, long stems coil around an animated porcelain seal and hippo rendered in delicate blue and white. “Still Life With Four Cerulean Vessels” is similarly lively as a miniature fox with a vine wrapped around its torso wanders across the tablescape.
Decorating the vases are unlikely scenes depicting volcanic eruptions, rocket launches, and even a menacing twister ripping across the terrain. Embellishing antique forms with contemporary imagery, the works juxtapose the calm propriety associated with domestic spaces and world-changing, explosive actions generated by both humans and nature.
Based in Sharon, Connecticut, Gill is currently researching historic textiles for upcoming works, and those shown here are on view in her solo exhibition Paraphernalia through April 26 at Hesse Flatow. Follow the latest on Instagram.
“Lunar Still Life (Avec L’hippopotame)” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 40 inches
Detail of “Wedgwood (Nightlines) II” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 24 inches
“Still Life With Four Cerulean Vessels” (2025), acrylic, image transfer and marble dust emulsion on canvas, 48 x 40 inches
“Tea For Two (Avec Le Caniche)” (2025), acrylic, image transfer and marble dust emulsion on canvas, 40 x 48 inches
“Wedgwood (Nightlines) III” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 24 inches
“Lunar Still Life (Avec le Elephant)” (2025), acrylic, image transfer and marble dust emulsion on canvas, 60 x 80 inches
“Wedgwood (Nightlines)” (2025), acrylic, image transfer and marble dust emulsion on panel, 30 x 24 inches
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“Yellow, White, Orange, Pink, Blue, Yellow, White” (2025), diptych, oil on canvas, 200 × 320 centimeters. Photos by Bartosz Zalewski. All images courtesy of Krzysztof Grzybacz and Galeria Dawid Radziszewski, Vienna, shared with permission
Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness
March 27, 2025
Art
Kate Mothes
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Arranged by size and hue, the blooms in Krzysztof Grzybacz’s large-scale oil paintings appear in comfortable togetherness, each individual’s features amplified by its placement next to those that differ. His Floral Compositions series organizes the flowers against swaths of green fabric, exploring their potent symbolism.
Grzybacz taps into the age-old tradition of flowers in oil, rendering their petals and stems in vibrant hues that capture their unique outlines and textures. Rooted in still life, his compositions are underpinned by abstraction and the artist’s fascination with layering and perspective.
“Yellow” (2025), oil on canvas, 200 × 160 centimeters
The works in Grzybacz’s current solo exhibition at Galeria Dawid Radziszewski also reference the queer community. “Flowers are like people: they pose, search for their own space, and mark out boundaries,” says a statement from the gallery. The artist nods to the role of order and systems, while also emphasizing the importance of celebrating diversity.
Grouped together in front of textile folds, oblique grids, or distorted human features, the artist invokes the power of alliances through a sense of tenderness, curiosity, and pliability.
Floral Compositions continues through March 29 in Vienna. Find more on Grzybacz’s website and Instagram.
“Blue, yellow, orange, white, pink” (2025), oil on canvas, 100 × 80 centimeters
“Orange, blue, pink, yellow, white, maroon, purple” (2025), oil on canvas, 200 × 160 centimeters
“White, Yellow, Orange, Blue, Purple” (2025), oil on canvas, 200 × 160 centimeters
“Blue, White, Yellow, Orange, Pink” (2025), oil on canvas, 100 × 80 centimeters
“White, maroon, orange, yellow, blue” (2025), oil on canvas, 70 × 60 centimeters
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“Still Life with Jars” (2025), acrylic and flashe on canvas, 60 x 84 inches. All images courtesy of the artist and Harper’s, New York
Porcelain Vessels Are Portals Through Time and Space in Paintings by Sun Hwa Kim
March 17, 2025
Art
Kate Mothes
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In the late 17th century, during Korea’s Joseon Dynasty, a particularly rotund, plain white porcelain vessel rose to popularity. Nicknamed “moon jars” for their milky glaze and spherical form, the earliest examples were finished in wood-fired kilns to add character to their minimalist surfaces. Treasured and reproduced by skilled artisans throughout the centuries, the classic style continues to influence contemporary artisans.
For Brooklyn-based artist Sung Hwa Kim, the traditional Korean jar serves as a starting point for an ongoing series of paintings invoking decorative vessels as metaphorical containers for the past. In the context of the still-life, he conjures what he refers to as “visual haikus,” poetic evocations of the passing of time, like changing seasons and the transition from day into night.
“Still Life with Jar, Ashtray, and Vincent van Gogh Painting” (2024), acrylic and flashe on canvas, 72 x 60 inches
In Kim’s current solo exhibition, Spring, Summer, Fall, Winter, and Spring at Harper’s, the artist emphasizes quiet, everyday moments in domestic settings that often overlook brick buildings or the iconic Brooklyn Bridge. Some of his compositions are vibrantly monochrome, setting the scene for a vase on top of a table, containing a scene from a historic painting or faraway landscape.
Kim often incorporates spectral, glowing insects (previously) and situates the vessels on sills or near windows. Vases contain landscapes, trees, and animals, while decor on the walls reference works by famous modernists like Vincent van Gogh, René Magritte, and Sanyu.
Inside the pots, the flora appears ghost-like or faded, rendered in fuzzy gray marks, and objects left nearby, like a pencil and notebook or a drinking glass, suggest that someone was recently present but an unspecified time has passed since they left. The jars serve as portals to other times and places just as the windows provide views of another world. “Ultimately, Kim masterfully inhabits the role of guide, making perceptible the delicate threshold between what fades and what endures,” says a gallery statement.
Spring, Summer, Fall, Winter, and Spring continues in New York through April 5. See more on the artist’s website and Instagram.
“Still Life with Jar, Fruits, and Incense Burner” (2025), acrylic and flashe on canvas, 72 x 60 inches
“Still Life with Jar and Round Glass Top Table” (2025), acrylic and flashe on canvas, 50 x 40 inches
“Still Life with Jar, Moon Lamp, and René Magritte Postcard” (2024), acrylic and flashe on canvas, 72 x 60 inches
“Still Life with Jar, Pencil, and Notebook” (2025), acrylic and flashe on canvas, 60 x 48 inches
“Still Life with Jar” (2024), acrylic and flashe on canvas, 50 x 40 inches
“Still Life with Jar and Sanyu Painting” (2025), acrylic and flashe on canvas, 60 x 48 inches
“Still Life with Jars” (2025), acrylic and flashe on canvas, 60 x 48 inches
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