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    Coiled Fishing Rope Sculptures by Joana Schneider Twist Organic Shapes into Otherworldly Forms

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    “Healing Blossom” (2023). Photos by Pearl Sijmons, courtesy of the artist, shared with permission

    Coiled Fishing Rope Sculptures by Joana Schneider Twist Organic Shapes into Otherworldly Forms

    December 19, 2024

    Art

    Grace Ebert

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    When Joana Schneider moved to The Hague, she began to visit the beach regularly. Having spent her childhood in Munich, the sea was a novel and a fruitful source of inspiration. Soon, the fishermen working in the harbor caught her eye.

    “There was something so intriguing about their world, which seemed to straddle this line between rugged labor and delicate artistry,” Schneider tells Colossal. “They were using knotting techniques, traditionally seen as feminine and delicate, but on a much larger scale, with heavy-duty ropes.”

    “Shine On You Crazy Diamond” (2024)

    The artist quickly connected what the anglers created with the traditions of textile art and began to source their leftover rope. Now based on KNSM Island in Amsterdam, Schneider continues to utilize the mariner material in her large-scale sculptures. “I spend days untangling the nets before I can start working with them. Then, I dry the ropes in the sun, which gives them this oceanic scent,” she adds.

    Once desiccated, the materials often become the structure for thin, colorful yarn the artist wraps around the strands. The finished works are sometimes abstract and others boldly figurative, portraying exaggerated facial features in coiled, hand-stitched patchwork.

    The process is labor-intensive, but the slow, methodical movements are part of what Schneider is drawn to. “Each turn of the yarn around the rope is a quiet, focused act. There is something very grounding about it. The rhythm of wrapping, the gentle tension of the yarn, and the soft texture of the fibers create a peaceful space where the world outside seems to fade away,” she says. The resulting works retain evidence of this meticulous process as coils large and small swell outward in perfectly concentric circles.

    Currently, Schneider is working toward a solo exhibition titled Otherworldly that will open in April at the Groniger Museum in The Netherlands. Blurring the line between the real and the fantastic, the project draws on the artist’s fascination with hybridity and includes a performative element, a harbinger of where her practice is headed. She shares:

    When I think of the natural world, I often think of the Renaissance tradition of grotesque art. It fascinates me how, in that period, artists mixed human, animal, and plant forms in intricate ways…The result is a hybrid environment that is at once familiar and alien. That is something I try to achieve in my work, a sense of wonder and a bit of disorientation as if stepping into a place where the boundaries of the natural world are deliberately blurred.

    Schneider’s sculptures are currently on view at the FITE Textile Biennial in Clermont-Ferrand, France, and will be included in a 2025 group exhibition at König Galerie in Munich. Until then, find more of her work on her website and Instagram.

    “Sugarfly” (2024)

    Detail of “Sugarfly” (2024)

    “Freckles” (2022)

    Detail of “Shine On You Crazy Diamond” (2024)

    Light Child” (2023)

    Detail of “Light Child” (2023)

    “The Good Farmer” (2023)

    “Red and Blue Iris Wave” series (2022). Photo by Pim Top

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      Colossal’s Top Articles of 2024

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      Image courtesy of Wally Dion

      Colossal’s Top Articles of 2024

      December 10, 2024

      ArtColossalDesignHistoryNaturePhotography

      Colossal

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      Throughout 2024, we were awed by archaeological finds, vibrant paintings, striking sculptures, remarkable photography, immersive installations, and so much more. It’s tough to choose only 10 top articles for the year!

      Lucky for us, dear Colossal readers, you’ve helped pick the best. Below, dive into our most-read stories on the site during the past twelve months, and find hundreds more in the archive.

      “Untitled (after François Gérard)” (2023), oil on canvas, 100 x 80 centimeters. Images © Ewa Juszkiewicz, courtesy of Almine Rech

      Ewa Juszkiewicz’s Reimagined Historical Portraits of Women Scrutinize the Nature of Concealment

      From elaborate hairstyles to hypertrophied mushrooms, an array of unexpected face coverings feature in Ewa Juszkiewicz’s portraits. Drawing on genteel likenesses of women primarily from the 18th and 19th centuries, the artist superimposes fabric, bouquets of fruit, foliage, and more, over the women’s faces.

      Image courtesy of Greg Jensen

      A Rare Cross-Section Illustration Reveals the Infamous Happenings of Kowloon Walled City

      At its height in the 1990s, Kowloon Walled City in Hong Kong housed about 50,000 people. Its population is unremarkable for small cities, but what set Kowloon apart from others of its size was its density. For a now out-of-print book titled Kowloon City: An Illustrated Guide, artist Hitomi Terasawa drew a meticulous cross-sectioned rendering of the urban phenomenon to preserve its memory.

      Image © Isak Finnbogason

      Remarkable Drone Footage Captures a New Volcanic Eruption in Iceland

      In January, photographer and drone pilot Isak Finnbogason captured stunning footage of an eruption on Iceland’s Reykjanes peninsula in December, documenting the nearly two-mile-long lava vent on the first day it was active. 

      “Water Lilies in Bloom” (2023), oil on canvas. Image courtesy of Erin Hanson

      Landscapes Radiate Light and Drama in Erin Hanson’s Vibrant Oil Paintings

      In vivid pinks, blues, and greens, radiant landscapes emerge in Erin Hanson’s impressionistic oil paintings. The artist is based in Oregon’s Willamette Valley, where the rolling hills and surrounding mountain ranges cradle miles of vineyards.

      Image © Richard Johnson

      Framed by Frozen Lakes, Richard Johnson’s ‘Ice Huts’ Capture Wintertime Communities in Canada

      Every year, Ontario’s 279-square-mile Lake Simcoe draws more people for its ice fishing than any other lake in North America, attracting upwards of 4,000 huts each year. The colorful villages caught the eye of Toronto-based architectural photographer Richard Johnson (1957-2021), who captured hundreds of the structures, from the artistic to the ad-hoc, in a series of bold portraits taken between 2007 and 2019.

      Image courtesy of the Italian Ministry of Culture / AFP Photo

      Archaeologists Discover an Extraordinary 2,100-Year-Old Mosaic Near the Colosseum

      Early this year, we shared news that the Italian Ministry of Culture had a remarkable find in the heart of Rome. In the late Republican era, a luxurious townhouse had been laden with designs made from shells, glass, white marble, and Egyptian blue tiles. A large “rustic” mosaic dating to the last decades of the 2nd century B.C.E.—a little over 2,100 years ago—was likely inspired by the decorative styles of Near East monarchies.

      ‘The Whole Booke of Psalmes.’ London: Company of Stationers, 1643. Image courtesy of The Grolier Club

      Spanning Seven Centuries, ‘Judging a Book by its Cover’ Celebrates an Enduring Art

      The Grolier Club’s exhibition, Judging a Book by its Cover, highlighted some of the most unique editions within its collection, including a pigskin- and brass-bound Jewish Antiquities and the Jewish War created for a Benedictine monastery in Bavaria around 1473—the oldest in the club’s library. The collection also features several religious texts, like the miniature book of psalms shown above, made by women at the Royal Exchange in London with a variety of silk and gold threads.

      Image courtesy of Wally Dion, shared with permission

      Vivid, Translucent Quilts by Wally Dion Stitch Together Indigenous Culture and Making Traditions

      For many rural and economically strapped communities throughout history, quilting was a necessity. Tattered clothing and blankets were cut up and refashioned into new blankets, their patchwork styles evidence of the fabrics’ earlier uses. For Indigenous people, though, quilts “hold a particularly important cultural value,” says artist Wally Dion, “appearing as gifts, ceremonial objects, and celebratory markers.”

      “লয় [Loy]” (2019), Arjunpur Amra Sabai Club, Kolkata. Photo by Vivian Sarky. Image courtesy of Asim Waqif

      Immersive Bamboo Installations by Asim Waqif Whirl and Heave in Monumental Motion

      In his monumental, swirling structures, Delhi-based artist Asim Waqif merges tenets of architecture and sculpture into sweeping site-specific compositions. Using natural materials like bamboo and pandanus leaves, he often incorporates found objects, scaffolding, sound elements, cloth, and rope.

      “Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. Image courtesy of JiSook Jung

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

      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.”

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    • 163 Shares189 Views

      in Art

      Through Monumental Installations of Soap and Stones, Jesse Krimes Interrogates the Prison System

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      Apokaluptein:16389067″ (2010–2013), cotton sheets, ink, hair gel, graphite, and gouache, 15 x 40 feet. All images courtesy of Jesse Krimes, Jack Shainman Gallery, and The Met, shared with permission

      Through Monumental Installations of Soap and Stones, Jesse Krimes Interrogates the Prison System

      November 21, 2024

      ArtSocial Issues

      Grace Ebert

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      Around 2009, Jesse Krimes was sent to solitary confinement while awaiting trial for a drug charge. He had recently graduated from Millersville University of Pennsylvania with an art degree and spent his first year inside Fairton Federal Correctional Institution making. “The one thing they could not take away or control was my ability to create,” he says.

      Like many incarcerated artists, Krimes had to forgo the luxuries of a pristine canvas and set of paints. Instead, he had to be resourceful and utilize the few materials available to him. He began transferring mugshots and small photos printed in The New York Times onto wet remnants of soap bars. He then tucked the blurred, inverse portraits into cut-out decks of playing cards glued together with toothpaste, which created a kind of protective casing that allowed him to smuggle the works out of the facility.

      Detail of “Purgatory” (2009), soap, ink, and playing cards

      The 292 works became “Purgatory,” which considers how we view criminality and references the unwinnable game of living in a carceral society. Having transferred both photos of people sentenced to prison and celebrities like Naomi Campbell and David Letterman, Krimes points to the ways popularized images can exacerbate power imbalances.

      “Purgatory” is currently on view at The Met in Jesse Krimes: Corrections, one of two New York exhibitions of the artist’s work.

      Exploring the role of photography in the criminal justice system, Corrections brings together several of Krimes’ large-scale works, including “Apokaluptein: 16389067.” The 40-foot patchwork mural similarly features imagery taken from newspapers that the artist transferred to 39 prison-issue bedsheets using hair gel. Inverted photographic renderings piece together advertisements, snapshots of global strife, and scenes of life from 2010 to 2013, all overlaid with Krimes’ own drawings.

      The root of apocalypse, apokaluptein is a Greek word translating to “uncover” and “revelation.” Paired with Krimes’ Bureau of Prisons ID number, the title references mass destruction and the mediated view of the world from inside the justice system.

      Detail of “Apokaluptein:16389067” (2010–2013), cotton sheets, ink, hair gel, graphite, and gouache, 15 x 40 feet

      Following his release, Krimes co-founded the Center for Art and Advocacy, which supports artists directly impacted by the justice system, and continues to collaborate with people who are incarcerated, often seeking help in sourcing materials for his work.

      “Naxos,” for example, suspends 9,000 pebbles from prison yards in a vivid installation as a parallel to “Apokaluptein: 16389067” at The Met. And at Jack Shainman Gallery, where Krimes is represented, the artist’s new body of work repurposes clothing gathered from currently and formerly incarcerated people into sweeping tapestries.

      Cells features three abstract works of transferred art historical imagery overlaid with sprawling, network-like embroideries. The webbed pattern is based on microscopic images of cancerous cells, which the artist excised to leave only the healthy tissue intact. By removing these malignancies, he creates an intricate metaphor for the ways the justice system extracts people from society while exploring new pathways toward care and redemption.

      Part of Krimes’ intent for his practice is to pay homage to those inside. “It is an absolute honor to have works that were created in such an austere and traumatic environment on display,” he said about Corrections. “To show these works highlights much more than the work of an individual artist, namely the collective value, creativity, and dignity of the millions of people currently behind prison walls.”

      Cells is on view through December 21 at Jack Shainman Gallery, while Jesse Krimes: Corrections runs through July 13, 2025, at The Met. Find more from Krimes on his website.

      “Unicorn” (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, and image transfer, 109 x 105 x 2 3/4 inches

      Detail of “Unicorn” (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, and image transfer, 109 x 105 x 2 3/4 inches

      Detail of “Purgatory” (2009), soap, ink, and playing cards

      Detail of “Purgatory” (2009), soap, ink, and playing cards

      Detail of “Naxos,” installation view of ‘Jesse Krimes: Corrections’

      Detail of “Naxos,” installation view of ‘Jesse Krimes: Corrections’

      “Stag” (2024), used clothing collected from currently and formerly incarcerated people, assorted textiles, embroidery, image transfer, acrylic paint, 82 x 77 x 2 3/4 inches

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    • 125 Shares189 Views

      in Art

      Marilou Schultz Weaves Computer Processor Patterns in Traditional Navajo Tapestries

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      “Replica of a Chip” (1994), wool mounted on wood, 120 × 146.1 centimeters. Photo © Museum Associates/LACMA. Image courtesy of American Indian Science and Engineering Society, shared with permission

      Marilou Schultz Weaves Computer Processor Patterns in Traditional Navajo Tapestries

      November 14, 2024

      ArtCraftDesignHistory

      Kate Mothes

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      What does Intel’s Pentium computer chip have in common with Navajo textiles? More than you might think.

      For artist Marilou Schultz, the ancestral practice of weaving melds with an unexpected contemporary source of inspiration. Merging analog loom methods with the patterns found on computer processor cores, Schultz entwines the histories of the Navajo people and modern technology.

      Detail of Intel Pentium core processor die

      In the late 17th century, Spanish colonists introduced a breed of sheep called the Iberian Churro to the American Southwest. The Diné—known also as Navajo—who had lived in the Four Corners region for hundreds of years, embraced shepherding and wool production, eventually developing a unique breed still managed today, the Navajo-Churro.

      Along with an aptitude for raising sheep, Diné weaving traditions flourished. Anthropologists surmise that the craft was adopted from the neighboring Puebloans sometime in the 12th or 13th centuries. As time passed, Navajo styles and techniques evolved, rising to popularity first among Plains Indian tribes and then, in the 19th century, with Europeans and non-Native tourists who sought out blankets and rugs for their remarkable craftsmanship and geometric patterns.

      Schultz, a mathematician and teacher in addition to her studio practice, was commissioned by Intel in 1994 to make “Replica of a Chip” as a gift to the American Indian Science & Engineering Society, an organization still active today that focuses on advancing Indigenous people in STEM. As computer historian Ken Schirriff details in a thorough blog post about the piece—especially its highly accurate layout—the work highlights the alluring patterns of a trailblazing piece of technology.

      Detail of “Replica of a Chip”

      The first Pentium processor was released in 1993. About the size of a fingernail, the die—the material on which the processor is fabricated—contains more than three million transistors. These microscopic switches control the flow of electricity to process data. Today, some high-powered chips contain billions of transistors.

      Schultz faithfully transferred the die pattern to a tapestry, employing delicate loom techniques and working from a photograph of the chip. Unlike traditional Navajo textiles, the geometries in “Replica of a Chip” are far from symmetrical.

      She used yarn pigmented with plant dyes, and the cream-colored regions are the natural shade of Navajo-Churro wool. Schultz told Schirriff that the weaving process was slow and deliberate as she referenced the image, completing about one to one-and-a-half inches per day. The painstaking and methodical process of sending warp through weft creates a beautiful tension between the instantaneous results we associate with digital tools today.

      Intel Pentium processors

      “Replica of a Chip” was the first in a series of weavings Schultz created based on computer circuits, including one known as the Fairchild 9040. While not as common as the Pentium, the Fairchild company is notable for its employment of Navajo workers in its operation in Shiprock, New Mexico—within the Navajo Nation—in the 1960s and 1970s.

      Part of a government initiative to try to improve the economic conditions of life on the reservation, Fairchild was incentivized to open a manufacturing center in Shiprock. “The project started in 1965 with 50 Navajo workers in the Shiprock Community Center manufacturing transistors, rapidly increasing to 366 Navajo workers,” Schirriff says. Eventually, the company “employed 1,200 workers, and all but 24 were Navajo, making Fairchild the nation’s largest non-government employer of American Indians.”

      In 1975, the Fairchild-Navajo partnership took a dramatic turn that spelled its demise. With the semiconductor industry suffering from the crippling U.S. recession at the time, Fairchild laid off 140 Navajo employees in Shiprock, which today still has a population of only a little more than 8,000 residents. The layoffs were a blow to the community. A group of 20 locals, armed with rifles, responded by occupying the plant for a week.

      While the episode eventually ended peaceably, Fairchild decided to shutter entirely and move its operation overseas, further compromising trust in corporate interests on Navajo land.

      Women’s roles in manufacturing and assembling electronics are often under-recognized. Schultz taps into ideas around gendered labor, visibility, and the slippery notion of “progress.” Through the lens of Navajo history and craft, she addresses paradigm shifts in technology, economics, and social change through the language of fiber.

      You can see “Replica of a Chip” in Woven Histories: Textiles and Modern Abstraction at the National Gallery of Canada in Ottawa, which continues through March 2, 2025.

      Detail of “”Replica of a Chip”

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    • 163 Shares139 Views

      in Art

      ‘Crafted Kinship’ Unravels the Creative Practices of 60 Carribbean Artists, Designers, and Makers

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      Morel Doucet. Photo by Alaric S. Campbell. All images excerpted from ‘Crafted Kinship’ by Malene Barnett and published by Artisan Books, © 2024, shared with permission

      ‘Crafted Kinship’ Unravels the Creative Practices of 60 Carribbean Artists, Designers, and Makers

      November 8, 2024

      ArtBooksSocial Issues

      Grace Ebert

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      A new book by Malene Barnett celebrates more than 60 artists, designers, and craftspeople whose work has been shaped by their Caribbean roots.Published by Artisan, Crafted Kinship: Inside the Creative Practices of Contemporary Black Caribbean Makers peers into a range of multi-faceted practices influenced by the diaspora. Whether drawing on connections to the land and memory or speaking to colonial histories and African origins, each creative shares insight into their practices, histories, and communities through insightful interviews.

      April Bey

      Several artists featured previously on Colossal have contributed their stories to the nearly 400-page tome. Firelei Báez, for example, discusses how her work strives to center the Caribbean within a global context by capturing traditions like Carnival or perfectly translating the way sunlight would filter through her grandmother’s backyard in the Dominican Republic.

      Similarly, Morel Doucet explains how foregrounding his Haitian identity has allowed him to tell his own story, rather than have others decide who or what his delicate, ceramic sculptures are about.

      Also included in the book are April Bey, who illuminates the relationship between opulence and thriving futures, and Sonya Clark, who unravels the Eurocentric distinction between art and craft. Barnett, too, is an artist and maker who shares glimpses into her studio and meticulous ceramic practices.

      Firelei Báez

      As a whole, Crafted Kinship focuses on the processes, considerations, and histories that go into a vast range of works, drawing connections between each element, maker, and their ancestral ties.

      Find your copy on Bookshop.

      Lavar Munroe

      Basil Watson

      Sonya Clark. Photo by Alaric S. Campbell

      Charmaine Watkiss

      April Bey. Photo by Alaric S. Campbell

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    • 138 Shares189 Views

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      Emily Van Hoff Sculpts Facets of Color in Vibrant, Dimensional Quilts

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      All images courtesy of Emily Van Hoff, shared with permission

      Emily Van Hoff Sculpts Facets of Color in Vibrant, Dimensional Quilts

      October 21, 2024

      ArtCraftDesign

      Kate Mothes

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      For Emily Van Hoff (previously), the possibilities of quilts extend far beyond two dimensions. From geometric tapestries to faceted weavings and sculptural constructions, the artist traverses a wide array of textile forms.

      “I love giving my quilts more visual weight,” Van Hoff tells Colossal. “I like when they feel more chunky and object-like… So I’ve been exploring a variety of ways to accomplish that.”

      Van Hoff often revisits original sketches and offcuts of earlier pieces, puzzling together new works with a variety of textures, hues, and configurations. One striking recent experiment takes the shape of three chain links, which can be displayed in various orientations by sliding the components around, revealing unique angles and color combinations.

      “Some of my wall hangings have also used pieces that sort of overlap and weave through each other,” Van Hoff says, “and the chain link is the continuation of that idea as well.”

      The artist recently announced a line of quilting fabric she designed for Moda Fabrics titled Groove, which will be available in stores starting in May next year. The collection expands on her vibrant palette and playful, squiggly motifs.

      “My background is in graphic design,” Van Hoff says. “I’ve always loved textile design, and I worked in a fabric shop in high school, so this is a real dream-come-true moment!”

      Explore more on the artist’s website, where she adds pieces to her shop from time to time, and follow updates on Instagram.

      ‘Groove’ series of designs for Moda Fabrics

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    • 150 Shares189 Views

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      In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World

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      Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing. All images courtesy of ICA Boston, shared with permission

      In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World

      September 6, 2024

      Art

      Grace Ebert

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      At the Institute of Contemporary Art in Boston, Tau Lewis (previously) presents a vast cosmology in which monumental, mythic beings herald in a new world. Five figures stand nearly 11 feet tall in draping garments, their hands positioned in distinctive gestures. With titles like “The Doula” and “The Reaper,” each bears a particular role as they loom over a large circular quilt at the center of the gallery floor.

      From found fabrics and objects, Lewis created the towering sculptures for Spirit Level, her first solo museum show in the U.S. The Toronto-born artist maintains a robust collection of materials in her Brooklyn studio, which she painstakingly stitches and sculpts into unearthly beings. These works continue her interest in how objects hold meaning and memory.

      “Mutasis Moon” (2021), recycled leather, seashells, sand dollars, acrylic paint, PVC pipe, galvanized steel, muslin, and recycled poly fibers, 40 x 40 x 25 inches. Photo by Pierre Le Hors, courtesy of the artist and Sadie Coles HQ, London, © Tau Lewis

      Her 2021 figure “Mutasis Moon,” for example, is an alien-like creature with four eyes and turquoise hands. Wrapped around a galvanized steel and PVC armature, the friendly painted-leather figure stands with arms outstretched as if welcoming the viewer.

      In Spirit Level, remnants of clothing, muslin scraps dyed with rust, snakeskin, conch shells, and coral bone merge, transposing the materials’ origins into new contexts. “The Doula,” for instance, wears a dark green, blue, and brown gown of leather and suede and is what the artist calls a “portrait of the sea.” Conjuring the dark depths of the ocean, the sculpture alludes to a space where life and death coexist.

      The gold-outfitted figure is titled “The Handle of the Axe,” which references the epigraph of Alice Walker’s 1992 novel Possessing the Secret of Joy that states: “When the axe came into the forest, the trees said, ‘the handle is one of us.’” Arms open for an embrace, the sculpture draws on the tensions between the desire for nonviolence and the struggle for liberation.

      At the center of the figures is “The Last Transmission,” the sprawling quilt that radiates outward from a starfish at the center. Small fabric panels adorned with glass, beads, and wire form an elaborate patchwork, appearing as an architectural portal to another universe.

      Spirit Level is on view in Boston through January 20, 2025, after which it will travel to David Zwirner in Los Angeles. Find more from the artist on her website and Instagram.

      Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing

      “Harmony” (2019), recycled leather, recycled poly fibers, rebar, wire, hardware, seashells, stones, and acrylic paint, 39 3/4 x 47 x 35 inches. Image © Tau Lewis

      “Knot of Pacification” (2021), recycled leather, wool, and suede, 114 x 100 inches. Image courtesy of the artist and Night Gallery, Los Angeles, © Tau Lewis

      Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing

      Installation view of “The Last Transmission” (2024), recycled leather and suede, cotton canvas, acrylic paint and finisher, natural dyes, assorted found metal, wood, ceramic, and glass objects, wire, beads, seashells, coated nylon thread, and coated cotton thread, overall diameter approximately 240 inches. Photo by Mel Taing

      Detail of “Mutasis Moon” (2021), recycled leather, seashells, sand dollars, acrylic paint, PVC pipe, galvanized steel, muslin, and recycled poly fibers, 40 x 40 x 25 inches. Photo by Pierre Le Hors, courtesy of the artist and Sadie Coles HQ, London, © Tau Lewis

      “Venus in Leo” (2023), steel, wood, enamel paint, acrylic paint, leather dye and finisher, recycled leather and suede, recycled fabric, found jewelry, clam shells, and coated nylon thread, 68 x 18 x 18 inches. Photo by Charles Benton, courtesy of the artist, Night Gallery, Los Angeles, and JTT, New York, © Tau Lewis

      Detail of “Venus in Leo” (2023), steel, wood, enamel paint, acrylic paint, leather dye and finisher, recycled leather and suede, recycled fabric, found jewelry, clam shells, and coated nylon thread, 68 x 18 x 18 inches. Photo by Charles Benton, courtesy of the artist, Night Gallery, Los Angeles, and JTT, New York, © Tau Lewis

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