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‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments
by Aurelia Butler 10 February 2025, 21:07
“Spectrum. An Afterthought” (1975–2014), synthetic fabric, neon lamps, colored filters, steel, aluminum, plywood, and plastic,
40 x 105.6 x 53.9 meters. Photo by Antanas Lukšėnas. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba
‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments
February 10, 2025
ArtDesign
Kate Mothes
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From immersive fabric installations and sculptures to photography, landscape design, and architecture, the work of Aleksandra Kasuba (1923-2019) merges myriad ideas about how we experience the world around us. The intersection of technology and nature enchanted the late Lithuanian artist, and she often experimented with a variety of materials and the effects of light, hue, and tension to explore relationships between ourselves and notions of shelter and place.
The first major exhibition of her work in Europe, Imagining the Future at Carré d’Art—Musée d’Art Contemporain, explores the incredible breadth of Kasuba’s artistry.
“Shell Dwellers III” (1989), paper and collage, 35 × 43.5 centimeters. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba
Born to an aristocratic family, Kasuba enrolled in art school in 1941, focusing primarily on sculpture and textiles. She married artist Vytautas Kašuba, with whom she fled Lithuania in 1944 in the wake of the Nazi occupation of the country. They landed in a displaced-persons camp in Germany where they stayed until making their way to New York in 1947, and her experience as a refugee and an immigrant significantly affected her work.
In the U.S., Kasuba found employment in crafts and design and began laying the foundations for her future artistic practice, which merged applied and functional arts with abstraction. Her interdisciplinary practice took shape in earnest the 1950s and 1960s and was deeply influenced by tenets of modernism and the era of space exploration, which cast humanity’s existence on Earth in a new light.
Mid-20th century scholarship on vernacular architecture also inspired Kasuba, and she was moved by a visit to Bernard Rudofsky’s 1964 exhibition Architecture Without Architects at the Museum of Modern Art in New York. He took a broader view of global architecture than the field typically covered and emphasized the ingenuity and beauty of structures built by Indigenous cultures.
Rudofsky suggested that modernism—particularly modern architecture—had lost touch with the real needs of society, and he urged viewers to pay attention to artistic, idiosyncratic, culturally rich local styles free from elitist design rules.
“Rock Hill House” (2002). Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba
Kasuba’s artistic practice blended with daily life in her own living spaces, too, from her New York City home in the 1970s to Rock Hill House, a sculptural dwelling in the New Mexico desert she completed between 2001 and 2005.
The convergence of sculpture and environmental design also fascinated the artist, spurring unique material combinations in large-scale public interventions and spatial installations. Concerned with how we move through places and are affected by our surroundings, she was also commissioned to create numerous public wall installations using materials like brick, marble, and granite.
Kasuba explored the relationships between transparency, color, and light in works like “Spectrum,” privileging organic shapes and an immersive passageway made from stretched nylon. Her Space Shelters series, composed of fabric in curving forms without ninety-degree angles, exemplifies her desire to harmonize nature, people, and technology.
Imagining the Future continues through March 23 in Nîmes, France. Learn more on the museum’s website.
“Dreaming III” (1963), white marble, 103 x 91 centimeters. Photo Antanas Luksenas. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba
Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier
“Live-In Environment, 43W90, NYC” (1971–1972). From the digital archive of Aleksandra Kasuba. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba
Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier
Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier
“Rock Hill House” (2005). Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba
Installation view of ‘Imagining the Future’ at Carré d’Art, Nîmes, France. Photo by Cédrick Eymenier
“Shell Dwellers VI” (1989), paper and collage, 35 × 43.5 centimeters. Image courtesy of The Lithuanian National Museum of Art, Estate of Aleksandra Kasuba
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Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy
by Aurelia Butler 10 February 2025, 15:10
Detail of “Fantasia” (2023). All artwork photos by Kristine Funch, courtesy of the artist, shared with permission
Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy
February 10, 2025
ArtCraft
Kate Mothes
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Twenty years ago, Signe Emdal founded a business that focused on making unique textile objects and garments, drawing on her background in jacquard weaving, fabric printing, and a range of other techniques. By 2021, though, she was feeling hemmed in and longed for a way to express herself through a more intuitive, less functional creative direction.
“It was time to free myself from a frame I no longer fit and make a new one,” she tells Colossal. “I had no idea what the new frame would look like, but I trusted that life would bring me something better if I said goodbye to a setup that didn’t bring me joy anymore.”
“Maison” (2023)
A self-described “textile composer,” Emdal views the loom as a window where warp and weft interact to create storage vessels for memories. She is also deeply influenced by exploring new locations. “Art allows me to travel in a completely new way because I get to be in a creation process while spending time with or (being) in other cultures,” she says. Many works she makes on-site, influenced by her surroundings.
Process is central to Emdal’s artistic education and continues to be the primary influence in her practice. “Everything is process, and everything is changing all the time,” she says. “Nothing is ever going to be finished!” She shares that through textiles, she learned to hone her concentration on both physical and metaphysical levels, finding that the meditative methodology of weaving echoes how she views art-making and life more broadly.
Emdal’s related series Touch and Loop comprise sculptural, loom-woven wool in vibrant colors. From radiating puffs of vibrating color to elegant, draping details, her pieces are inspired by science fiction, feminism, art history, and music. “The sculptures are layers of delicate memories,” she says, embodying fragility, resilience, sophistication, and joy.
Emdal’s work will be included in the Textile Art Biennial Slovenia, which runs from May 31 to August 14 across five cities. Find more on Emdal’s website and Instagram.
“Dreams of Gaia” (2024)
Detail of “Dreams of Gaia”
“Heart of Nebula” (2024)
“Fantasia” (2023)
“Acqua 4 ever/Evigheden” (2024)
“Spirit of Green” (2024)
Detail of “Spirit of Green”
“Murex 4ever” (2023)
“Silky Way” (2023)
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Embellished Vodou Flags by Myrlande Constant Spotlight ‘The Spiritual World of Haiti’
by Aurelia Butler 28 January 2025, 17:49
“Ceromine Bois Caiman” (date unknown), beads and sequins on fabric, 52 x 82 inches. All images © Myrlande Constant, courtesy of the artist and Fort Gansevoort, New York, shared with permission
Embellished Vodou Flags by Myrlande Constant Spotlight ‘The Spiritual World of Haiti’
January 28, 2025
ArtHistorySocial Issues
Kate Mothes
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When Myrlande Constant (previously) was a teenager, she worked alongside her mother in a commercial wedding dress factory in Port-au-Prince. There, she learned the tambour embroidery technique, which utilizes a hook to create chain stitches with beads and sequins on fabric.
“By foregrounding her specialized skills honed in the fashion industry, Constant’s approach to drapo has broken gender barriers and elevated the overlooked creative labor of Haitian female factory workers to the realm of fine art,” says a statement from Fort Gansevoort, which will present the artist’s work next month in a solo exhibition titled The Spiritual World of Haiti.
“Marasah-Cai Leh-Créole-Marasah-Guinin-Marasah-bois” (date unknown), beads and sequins on fabric, 74 x 55.25 inches
Drapo, or drapo Vodou, typically describes a style of embroidered flag embellished with beads or sequins, but the term can also be applied to a wide range of art forms like painting, clothing, assemblages, and sculptures. Constant’s pieces, which she has been renowned for since the 1990s, highlight a variety of materials, colors, textures, and all-over compositions brimming with ritual activity and symbols.
Haitian Vodou, an African diasporic religion that developed between the 16th and 19th centuries, merged Western and Central African traditions with Roman Catholicism. Its divine creator, Bondye, is inaccessible to humans, so spirits known as lwa‘s serve as intermediaries that can be invoked during ceremonies by possessing individuals, enabling communication with Bondye and transmission of advice, admonishment, or healing.
“Though she considers her art-making to be rooted in spirituality, Constant does not create her works for the purpose of display in Vodou temples, preferring instead to exhibit them in museums and galleries internationally,” a statement says.
For Constant, art-making is a statement of resistance within the context of Haiti’s extreme political and economic instability. The nation’s current unrest was spurred by protests against high fuel prices in 2018 and a demand that then-president Jovenel Moïse resign. He refused to step down but was assassinated in 2021, further escalating tensions. A federation of gangs continues to clash with the government, spawning more protests, violence, and perpetuating an evolving humanitarian crisis.
Detail of “Au nom de 29 points cimetiere par pou voir Baron Samedi”
“Marinette Bois Chèche” is the earliest work that will be on view in the exhibition and depicts the martyrdom of Vodou lwa Marinette. According to folklore, Vodou lwa Marinette was burned alive for fighting against slavery and participating in a paradigm-shifting Bwa Kayiman ceremony in 1791, which spawned the 12-year Haitian Revolution.
The insurrection, an uprising of enslaved people against French colonial rule, is unique in history because it led to the founding of a state ruled by former captives and non-white people and free from slavery—although it still permitted forced labor. Constant’s title translates to something like “Marinette of the dry wood,” evoking the ceremony that typically takes place around a bonfire and calling upon a momentous period in Haiti’s history.
The artist’s drapo are densely beaded and often much larger than their traditional counterparts. The most recent work on view in the exhibition, “Devosyon Makaya” spans ten feet wide and took around three years to create. Constant describes her process as “painting with beads,” transforming fabric and findings into elaborate narratives evoking time-honored Haitian customs.
The Spiritual World of Haiti opens on February 27 and continues through April 26 in New York City.
“Au nom de 29 points cimetiere par pou voir Baron Samedi” (date unknown), beads and sequins on fabric, 58 x 70 inches
“Marinette Bois Chéche” (1994), beads and sequins on fabric, 33 x 37 inches
“Par pou voir torit les saints torit les morts torit armes ou purgatoir bó manman ak bo papa
maternel et paternal en non digr cela mizerricorde” (date unknown), beads, sequins, and tassels on fabric, 76.5 x 96 inches
Detail of “Par pou voir torit les saints torit les morts torit armes ou purgatoir bó manman ak bo papa
maternel et paternal en non digr cela mizerricorde”
Detail of “Ceromine Bois Caiman”
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Nosheen Iqbal Translates Pakistani Craft Traditions into Vivid Sculptural Embroideries
by Aurelia Butler 13 January 2025, 20:30
All images courtesy of Nosheen Iqbal, shared with permission
Nosheen Iqbal Translates Pakistani Craft Traditions into Vivid Sculptural Embroideries
January 13, 2025
ArtCraft
Grace Ebert
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Equipped with vibrant cotton thread and wooden panels, Nosheen Iqbal stitches sculptural embroideries that draw on her Pakistani and Islamic heritage. Architectural arabesques and Punjabi craft traditions influence her mixed-media motifs, including phulkari, or floral folk embroideries, and woodblock printed reliefs known as bagh.
Iqbal utilizes half-circles and semi-precious beads to add depth and visual intrigue to the works. Creating shadows and catching the light, these meticulously planned details allow a shift in perspective depending on the viewer’s position. The sweeping lines of color create “saturated pathways that reveal their intensity and depth,” she adds, “allowing my work to offer a shifting experience of light, color, and connection.”
By emphasizing dimension and the interactions between materials, Iqbal hopes to push the medium in new directions while honoring broader making traditions. She says:
Craftsmanship holds a profound significance in Pakistani culture, where artistry is revered as a lifelong discipline that shapes identity and community. This respect for meticulous craftsmanship is integral to my own practice. By selecting thoughtful materials—wood, semi-precious beads, and thread—I aim to honor this tradition. Each piece is a reflection of this cultural value, merging refined textures with precision to invite a tactile, immersive experience for the viewer.
Born in London, Iqbal lives and works in Dallas and recently left a long career in design and art direction to become an artist full-time. You can find available pieces on her website and follow her work on Instagram.
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Lifelike Canines Lounge in Emily O’Leary Uncanny Hooked Rugs
by Aurelia Butler 13 January 2025, 17:00
“Fluffy-Tailed Ticked Dog” (2022), hand-hooked mostly-wool yarn on linen. All images courtesy of Emily O’Leary, shared with permission
Lifelike Canines Lounge in Emily O’Leary Uncanny Hooked Rugs
January 13, 2025
ArtCraft
Kate Mothes
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Most dogs spend at least half of their day asleep—some getting z’s for upwards of 18 hours. Whether curled up on the floor or enjoying a long-legged stretch, the subjects of Emily O’Leary’s rugs evoke our beloved pets.
Based on photographs of actual dogs, she focuses mostly on animals the artist doesn’t know. “I like to hook dogs that are pretty ‘mutty’ looking, that don’t look like yard-bound Golden Retrievers or Doodles,” she tells Colossal. “I’m attracted to the shared history of humans and dogs—how the bulk of their domestication may have happened somewhat inadvertently.”
“Injured Elbow Dog” (2020), hand-hooked wool yarn on linen
Employing a carpet-making technique called rug hooking, the earliest form of which can be traced to Northern England in the early 19th century, O’Leary spends several months on a single piece. Compared to tufting, “It’s a slower, more traditional process,” she says, but the process allows each individual loop to be applied at a different height, giving her the ability to create three-dimensional reliefs.
O’Leary learned to make rugs after predominantly focusing on embroidery. When some friends organized an exhibition themed around dogs, she had the idea to make a work in the shape of a life-size canine. “I’m lucky that the rugs sort of do inspire tender feelings in the people who see them, but that they’re also a bit uncanny,” she says.
The pieces’ weight and realistic details engender an intimate connection as they come to life, so to speak. “I really feel like I’ve built a relationship with the object,” she says, adding: “Sometimes the dogs I hook have wounds or scars. The dog rug I’m working on right now is missing a little chunk of her ear. I want to depict them as they are, not stuffed animal versions.”
Find more on O’Leary’s website and Instagram.
“Brown and Black Dog” (2021), hand-hooked wool yarn on linen
Detail of “Mottled-leg Dog” (2024), hand-hooked wool yarn on linen
“Sandy Reddish Dog” (2023), hand-hooked mostly-wool yarn on linen
Photo by Bucky Miller
Photo by Bucky Miller
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Nicole McLaughlin’s Mixed-Media Sculptures Celebrate Craft, Heritage, and New Life
by Aurelia Butler 8 January 2025, 15:45
“Fuentes de Vida; Gemela” (2023)
Nicole McLaughlin’s Mixed-Media Sculptures Celebrate Craft, Heritage, and New Life
January 8, 2025
ArtCraft
Kate Mothes
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From ceramics and wool fiber, Nicole McLaughlin (previously) summons striking connections between materials, heritage, and personal experiences. She draws upon the rich traditions of historically domestic crafts to reconsider their roles today, merging ceramics and textiles into elegant, cascading wall sculptures.
Drawing on artisanal trades like pottery and weaving, McLaughlin deconstructs preconceptions about form and function, emphasizing mediums, techniques, and themes through the unexpected pairing of stoneware and fiber. Her works encourage us to think critically about relationships between tenderness and strength or past and present.
“Cordón de Vida” (2024), ceramic, tencel, indigo, wool, and cochineal, 27 x 60 x 4 inches. Courtesy of Anderson Yezerski Gallery
Many of the pieces shown here are from McLaughlin’s ongoing Indigo Series, which explores the history of the Mayan pigment and its taps into the continuity of life cycles, history, and culture. Streams of wool fiber flow from central openings in glazed ceramic spheres, referencing the life-giving flow of water as a parallel to fertility and maternal care.
McLaughlin gave birth to a daughter in early 2024, which dramatically shifted how she viewed her studio practice. The work in her most recent exhibition, String of Life at Anderson Yezerski Gallery, merges personal experiences and her Mexican cultural heritage, delving into themes of life and the transformative journey of motherhood.
“The transformation of organic material echoes the transformative nature of motherhood,” McLaughlin said in a statement for the show. “The range of colors captures an intense emotional spectrum—from the vitality of birth to the softer, more intimate moments.”
For McLaughlin, cochineal carries an equivalent significance. The brilliant magenta hue emerges from carmine dye, also known as cochineal, which comes from crushing an insect of the same name. The color plays a vital role in Indigenous material culture and heritage of the Americas.
Detail of “Cordón de Vida”
For the Aztecs and Mayans, red was symbolic of the gods, the sun, and blood, and the dye was traded throughout Central and South America for use in rituals, producing pigments for manuscripts and murals, and for dyeing cloth and feathers.
“During the Mayan empire, indigo was combined with clay and incense to create a pigment known as Maya blue,” she says. “The pigment was said to hold the healing power of water in the agricultural community.”
McLaughlin’s work is in the group exhibition OBJECTS: USA 2024 at R & Company in New York, which continues through tomorrow. The artist is currently taking a short break from the studio in anticipation of working toward a solo exhibition at Adamah Ceramics in Columbus, Ohio, which will open this fall. See more on her website, and follow updates on Instagram.
“Agua; Sangre de Vida.” Photo by Logan Jackson, courtesy of R & Company
“La Pequeña” (2024), ceramic, wool, and cochineal, 10.5 x 21 x 1.5 inches. Courtesy of Anderson Yezerski Gallery
“La Marea que me Envuelve II” (2023). All images courtesy of Nicole McLaughlin, shared with permission
Detail of “Fuentes de Vida; Gemela”
Detail of “De Mi Vientre” (2024), ceramic, tencel, wool, and cochineal, 17.5 x 73 x 5.5 inches. Courtesy of Anderson Yezerski Gallery
Untitled (2024), 10 x 10 feet
Detail of “La Pequeña”
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In Paintings and Quilts, Stephen Towns Spotlights Black Leisure in the Jim Crow South
by Aurelia Butler 2 January 2025, 13:30
“Looking for Lorraine” (2024), natural and
synthetic fabric, polyester and cotton thread, and acrylic and crystal glass beads, 55.5 x 68 inches. All images courtesy of the artist and Rockwell Museum, shared with permission
In Paintings and Quilts, Stephen Towns Spotlights Black Leisure in the Jim Crow South
January 2, 2025
ArtHistorySocial Issues
Kate Mothes
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In central Florida, Ocala National Forest is dotted with more than 600 lakes and rivers. A nearby recreation hub, Silver Springs, has capitalized on the tourism potential of these glistening, clear bodies of water for decades, offering sandy riverside beaches and taking visitors on jaunts in glass-bottom boats.
Until 1968 and the passing of the Civil Rights Act, Silver Springs—similar to many other places in Florida and the South more broadly—was racially segregated and only open to white patrons. In 1949, the owners of Silver Springs opened Paradise Park a mile down the road as a destination “for colored people,” as the welcome sign read, who were prohibited from the other resort.
“Swimming Lessons” (2022), acrylic, oil, and metal leaf on panel, 40 x 40 inches
Paradise Park was one of three beaches in Florida open to Black visitors during this time and also offered sandy beaches, rides in glass-bottom boats, a petting zoo, a dance pavilion with a jukebox, performances, games, and a softball field. It remained in operation until 1969, shortly after desegregation, and became a subject of fascination for photographer Bruce Mozert (1916-2015), who documented happenings at both recreation areas.
For artist Stephen Towns, Mozert’s images and the history of Paradise Park provide the foundation for Private Paradise: A Figurative Exploration of Black Rest and Recreation, now on view at the Rockwell Museum. Through paintings and quilted compositions, the artist explores how certain parks could be places of refuge and leisure for Black Americans during the Jim Crow era.
“Black people had to set up their own spaces in order to find recreation and to find peace,” Towns says in a video accompanying the exhibition. “This show is a way of illuminating that. It gives people a sort of way into history that’s not as scary as it can be in other forms.”
Towns’ paintings portray groups of children swimming, sunbathing, and playing on the sandy shoreline. His fabric compositions are imagined scenes of respite and togetherness, which come across as disarming and candid.
“Motown in Motion” (2024), natural and synthetic fabric, polyester and cotton thread, and acrylic and crystal glass beads, 55.5 x 68 inches
“Motown in Motion,” for example, depicts a group of young people gathered on the beach, and “I Will Follow You My Dear” trails two women swimming underwater—another nod to Mozert’s work as a pioneer in underwater photography.
The figures in Towns’ paintings are more posed, drawn directly from Bruce Mozert’s snapshots, depicting smiling kids at play. Towns often uses reflective materials like metal leaf that emanate light back toward the viewer, reiterating a sense of brightness. “I want people to feel that warm, reflective energy when they see the show,” he says.
Explore more on Towns’ website and Instagram, and if you’re in New York, you can see Private Paradise in Corning through January 19.
“Taking Flight” (2022), acrylic, oil, and metal leaf on panel, 40 x 40 inches
“I Will Follow You My Dear” (2024), natural and synthetic fabric, polyester and cotton thread, and acrylic and crystal glass beads, and shells, 55 x 72 inches
“When We Were Young” (2022), acrylic, oil, and metal leaf on panel, 40 x 40 inches
“A Taste of Lemonade” (2024), natural and synthetic fabric, polyester and cotton thread, crystal glass beads, metal and resin buttons, 55.5 x 68 inches
Photograph of visitors at Paradise Park by Bruce Mozert
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Coiled Fishing Rope Sculptures by Joana Schneider Twist Organic Shapes into Otherworldly Forms
by Aurelia Butler 19 December 2024, 14:56
“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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textiles

More stories

‘Imagining the Future’ Honors Aleksandra Kasuba’s Trailblazing Installations and Environments

Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy

Nosheen Iqbal Translates Pakistani Craft Traditions into Vivid Sculptural Embroideries

Lifelike Canines Lounge in Emily O’Leary Uncanny Hooked Rugs

Nicole McLaughlin’s Mixed-Media Sculptures Celebrate Craft, Heritage, and New Life

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

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