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

    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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    ‘And Then There Was Everything’ Unearths the Allure of Natural Motifs at Joy Machine

    Jeremy Miranda

    ‘And Then There Was Everything’ Unearths the Allure of Natural Motifs at Joy Machine

    April 9, 2025

    ArtNaturePartner

    Joy Machine

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    Joy Machine is thrilled to announce its second exhibition, And Then There Was Everything, featuring works by Paul S. Briggs, David Cass, Laura Catherwood, Yellena James, Jeremy Miranda, Jeffly Gabriela Molina, and Anna Ortiz. An opening reception will be held from 6 to 9 p.m. on April 18.

    And Then There Was Everything takes its name from the opening line of Richard Powers’ novel The Overstory, which beckons readers into a winding, interconnected narrative tuned into the intimations of the trees. Powers writes that “a good answer must be reinvented many times, from scratch,” a sentiment each artist uniquely investigates through painting, ceramic sculpture, and collage. Iterating on natural motifs, these artists tap into our personal and collective psyches to unearth the recurring messages within.

    Paul Briggs, “Effloresce (Series)” (2025), black stoneware, white cone 6 glaze

    Rendering the familiar unfamiliar has long been a way to investigate the overlooked and to surface hidden emotions, and each artist presents seemingly common subject matter as an invitation to pause and look inward.

    In Briggs’ leafy vessels, repeating motifs are key to achieving equanimity. The artist uses a technique he calls “hand-turning” and works in a “very assertive but tender process.” From a single ball of clay, he pinches small, dynamic fronds surrounding the vessel walls as he finds a meditative balance in both his mind and the sculptures themselves.

    Although working at an intimate scale, Cass zooms outward as he paints undulating waves on antique tins, matchboxes, pulleys, and more, a collection of 14 of which are installed at Joy Machine. Visible swipes of paint delineate the horizon in some pieces, while others are entirely awash in curved lines. Interested in conveying the effects of a heating planet and rising waters, Cass uses repurposed, human-made containers representative of physical constraints as metaphors for our collective limits to adapt.

    In James’ alluring canvases, dense ecosystems spill from edge to edge. Striving for a perfect balance that becomes “a sort of compulsive meditation,” the artist paints delicate, otherworldly environments evocative of both land and sea. Catherwood similarly lingers in uncertainty as she renders hybrid creatures with fantastic motifs. Painted with soft, tender brushstrokes, the arresting beings become welcome companions to explore life’s mysteries and adjust to its cycles.

    Anna Ortiz, “Reflexión” (2024), oil on canvas, 30 x 34 inches

    Ortiz, too, conjures the uncanny in “Reflexión,” a desert landscape dotted with a pair of agave plants underneath an eclipse reflected on Lake Texcoco. The saturated, limited color palette renders the time of day ambiguous and helps establish a surreal borderland in which the now-dried lake still exists. Mixing memory and imagination, Ortiz draws on her own ancestral connections and positions the twin agaves as a way to consider unfulfilled destinies. 

    Miranda and Molina grapple with similar questions as they utilize recollections of moments and spaces. Observation is at the heart of Miranda’s works, and he harnesses the ethereal qualities of light to cast familiar spaces anew. In his hands, a nondescript pocket of forest or humble bonfire becomes dreamlike, prompting questions of perspective and how we understand our relationships to the settings that surround us.

    For Molina, a flutter of yellow butterflies and a mirrored parrot are symbols of connection and care. The brightly colored insects accompany a portrait of the artist’s mother as a child in “Mother Our Castles Will Not Be Made of Sand,” while “To Misericordia” conjures a place long gone. A poem inscribed in the work reads, “… And do you know that glitter and gold have gone out of fashion, and that your parrot no longer remembers himself?,” which references Molina’s great-grandmother’s pet and the ways companions give shape to the self.

    And Then There Was Everything is on view from April 18 to June 7. RSVP to the opening reception here.

    Jeffly Gabriela Molina, “Mother Our Castles Will Not Be Made of Sand” (2020), watercolor on Arches 300 Lb, 23 x 23 inches

    David Cass, “Pulley I – Rockport, ME” (2023-24), oil on marine pulley, 23 x 11.5 x 8 centimeters

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    Reconnecting with the Earth, Cyrah Dardas Collages Paintings with Handmade Pigments

    Images courtesy of Cyrah Dardas, Shana Merola, Na Forrest Lim, Library Street Collective, and CCS gallery, shared with permission

    Reconnecting with the Earth, Cyrah Dardas Collages Paintings with Handmade Pigments

    February 24, 2025

    ArtNature

    Kate Mothes

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    From oxidized metals, foraged plants, and botanical inks and dyes, Cyrah Dardas derives colors and textures from materials found in the earth. Based in Detroit, the artist reflects the juxtapositions of her surrounding landscape in paintings on cotton paper, merging human-made and organic materials in works redolent of Persian tapestries.

    In abstract compositions evocative of Georgia O’Keeffe’s sensual flower forms or the symbol-rich paintings of Hilma af Klint vis-à-vis the spiritualist movement, Dardas collages paper painted with handmade watercolors and quilts textiles with hand-dyed fabrics.

    “For the last few years, I have been thinking a lot about belonging and seeking to understand it through a more loving relationship to place,” she tells Colossal. “All of my work as an artist flows from this seeking.”

    Dardas employs the language of abstraction to explore the human psyche and the “patterns, behaviors, forms, colors, and movements I see in the living world,” she says. Recently, she’s been considering the impact of humans seeing ourselves as increasingly separate from both nature and one another, simultaneously fascinated and grieved by the fallacy of individualism—the confusion between the freedom to make good decisions and the perceived right to do whatever we want with no empathy or regard for how it will affect others.

    “In my practice, I ask myself, could I possibly foster some level of reciprocity with any—or all—of the many elements and beings that have brought me here and taken care of me?” Dardas says. “In order to do that, I know I need to at least find a way to connect to them differently than the models that modernity offers us. Art is my portal for that, a different type of connection.”

    Dardas invokes ancient, ancestral ways of being in the world by consciously connecting to her natural surroundings. She honors ecosystems and relationships that are naturally cooperative, nourishing, and sustaining, drawing contrasts between processes she views as extractive, like capitalism, patriarchal attitudes, or over-reliance on technology. She uses locally available materials and relies on analog techniques to prepare and process them.

    Describing herself as a “queer, eco-romantic artist and care worker,” Dardas examines the nuances of interdependency, growth, and life cycles. Much of her recent work is a reflection of her own pregnancy as she is currently in the “fleeting baby phase” of new parenthood. She says:

    I got curious about other beings that swell and gorge to create life—all the plant bodies of water holding seeds, feeding and nurturing them. I wanted to mirror them, thinking of myself as a gourd, a seed pod, a fruit. Like the many facets and expressions of queerness, I felt the experience of pregnancy was vast and delightfully undefinable, and I wanted to translate that feeling or mirroring into something visual.

    Dardas’s work is on view in the group exhibition Warp and Weft: Technologies within Textiles, presented by Library Street Collective at The Shepherd in Detroit, which continues through May 3. Find more on her website and Instagram.

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    Chunbo Zhang Sandwiches Rich American Fare Between Ancient Chinese Treasures

    All images courtesy of Chunbo Zhang, shared with permission

    Chunbo Zhang Sandwiches Rich American Fare Between Ancient Chinese Treasures

    January 24, 2025

    ArtFood

    Grace Ebert

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    In Chunbo Zhang’s Food Treasure series, cheese oozes from a patterned porcelain crust, while grease pools around a burger with a ceramic-like bun. Painted in acrylic or watercolor, the delicate compositions capture the gluttony and excess of the quintessential American diet.

    Zhang, who’s based in Chicago, began the series in 2018 after moving to the U.S. and was struggling to adapt to her new surroundings, particularly regarding food. “It is not only essential in our daily life but also an entry point for foreigners to understand an unfamiliar culture,” she tells Colossal.

    The artist found American dairy products difficult to digest and popular desserts like donuts and Oreos far too sweet. As she wondered how to bridge the divide between her Chinese background and adopted home, she began to paint realistic renderings of epicurean delights like deep-dish pizza and bagels thick with schmear. Except where a viewer might expect to find a glistening egg-wash glaze or crispy crust, Zhang painted motifs from antique porcelain.

    Food Treasure depicts many of the dishes on a larger scale, nodding to both the immense portions of the American diet and also the outsized impact meals have on shaping our cultural identities. Each work emphasizes myriad tensions: hard and soft, raw and cooked, inedible and nourishing, ancient and contemporary, functional and decorative, high and low aesthetics. Reflecting Zhang’s anxieties, the works ask, “Do the two cultures fight each other or can they merge?”

    Questions like this are fundamental to the series and inform how Zhang chooses reference imagery from Chinese wares that correspond to the dish. For example, the cheeseburger is sandwiched between a motif that represents long life and happiness, another dichotomy considering the diner fare is unlikely to find itself among any dietician’s recommendations. These patterns also reflect movement and migration as blue-and-white porcelain and elaborate, vivid florals emerged from cultural exchanges dating back to the 13th century.

    In 2023, Zhang began to think about the ways food travels and painted an iteration of a drippy cheeseburger on remnants of a large FedEx box. The cardboard canvas references to-go culture and how pre-prepared and restaurant meals are often removed from their original context and consumed.

    Several works from the Food Treasure series are on view through April 27 in Sustenance & Land at Elmhurst Art Museum. Find more on Zhang’s website.

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    Dreamlike Creatures and Spiritual Symbols Merge in Lou Benesch’s Watercolors

    All images courtesy of the artist and Hashimoto Contemporary, shared with permission

    Dreamlike Creatures and Spiritual Symbols Merge in Lou Benesch’s Watercolors

    October 31, 2024

    ArtIllustration

    Kate Mothes

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    Cosmic phenomena, spiritual symbolism, and the stuff of dreams embellish Lou Benesch’s mystical watercolor paintings. From a trio of blackbirds hovering over a giant bed on a ragged coastline or a many-faced ram bearing bells and birds, the Paris-based artist (previously) draws on the iconography of folklore, fairytales, Greek myths, and symbols of spirituality.

    A Comforting Invisible, opening soon at Hashimoto Contemporary, marks the artist’s first solo show with the gallery and brings together a collection of otherworldly illustrations that begin with reality but morph into unearthly, imaginary beings.

    In often semi-symmetric compositions, hybrid animals and unique interactions nod to metamorphosis and metaphysical experiences in surreal landscapes. The edges of each piece of paper have also darkened or faded with age, emphasizing the element of time or—as in dreams—timelessness.

    Benesch explores what the gallery describes as the “existence of a second, invisible realm accessed only through the portal of dreams.” Stage-like settings, archways, and niches reveal emblems like eyes, a miniature labyrinth, the sun and moon, eggs, and a range of geometric shapes.

    Eggs, for example, represent hope, fertility, and rebirth. People have revered the sun and moon since time immemorial, symbolizing duality, balance, and transition. Benesch adds that the addition of a maze provides a way to “access this universe of contemplation… with an invisible hand guiding us along the paths that we forget to see.” 

    A Comforting Invisible runs from November 9 to 30 in Los Angeles. Find more on the artist’s website and Instagram.

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    Magic and Whimsy Abound from Shannon Taylor’s Fantastic Watercolor Dioramas

    All images courtesy of Hashimoto Contemporary, shared with permission

    Magic and Whimsy Abound from Shannon Taylor’s Fantastic Watercolor Dioramas

    October 29, 2024

    Art

    Grace Ebert

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    Tucked inside vintage compacts are magical worlds of whimsy and mischief carefully concocted by Shannon Taylor. The Oakland-based artist (previously) transforms antique vessels into lush breeding grounds for fantastic creatures, spirited gatherings, and the occasional vampiric character.

    Taylor’s solo exhibition Night Market opens at Hashimoto Contemporary next month with a stunning collection of works that peek into the strange happenings occurring after darkness.

    Meticulously cut with a precision knife from watercolor paintings, each miniature scene lures the viewer into an enchanting environment that appears much more robust than its inches-wide frame. Taylor’s recent works conjure intricately layered narratives of supernatural rituals and a moon passionate about her own likeness, which, at the right angle, is reflected in the mirrored pond below.

    Night Market runs from November 9 to 30 in Los Angeles. Until then, find more from Taylor on Instagram.

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