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    Homewares and Laundry Take on Lives of Their Own in Tobias Izsó’s Mixed-Media Sculptures

    “#1” (2023) from the series ‘off the cuff,’ textile, foam, horsehair, walnut, lime, oil willow, rattan, and brass, 80 x 70 x 5 centimeters. All photos by Simon Veres. Images courtesy of the artist and Christine König Galerie, shared with permission

    Homewares and Laundry Take on Lives of Their Own in Tobias Izsó’s Mixed-Media Sculptures

    May 28, 2025

    Art

    Kate Mothes

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    Shoelaces, zippers, chairs, and other domestic items adopt unexpected personalities in the uncanny sculptures of Tobias Izsó. Incorporating a wide range of materials, from various woods and paper to leather and textiles, the artist investigates the emotional terrain of private spaces. Izsó depicts sweaters, shoelaces, shirt cuffs, and piles of laundry merging with their surroundings or seemingly possessing minds of their own.

    Christine König Galerie, which represents the artist, exhibited Izsó’s series off the cuff last year in its project space, KOENIG2. The works explore relationships between home, self, and the emotional influence of stuff. Izsó’s work will be on view at Kunstverein Dresden in October, and you can find more on the artist’s Instagram.

    “#8” (2024) from the series ‘off the cuff,’ oak, paperclip, and paper, 15 x 19 x 14 centimeters

    “#6” (2023) from the series ‘off the cuff,’ webbing, leather, stainless steel, bentwood, oak carpet, textile, rattan, veneer, and brass, 170 x 47 x 35 centimeters

    “#3” (2024) from ‘off the cuff,’ beech, walnut, cherry, oak, and elm, 116 x 45 x 43 centimeters

    “#2” (2023), from the series ‘off the cuff,’ rattan, beech, Afrik, walnut, raffia walnut, and raffia, 82 x 60 x 12 centimeters

    “#5” (2024) from the series ‘off the cuff,’ cherry wood, pine wood, leather, and textile, 108 x 30 x 855 centimeters

    “#4” (2024) from the series ‘off the cuff,’ cherry wood and wall anchor, 99 x 42 x 15 centimeters

    Installation view of ‘Off the Cuff’ at KOENIG2 by_robbygreif

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    Adrian Landon Brooks and Jaime Molina Assemble Enigmatic Narratives in ‘No Man’s Land’

    Adrian Landon Brooks. All images courtesy of the artists and Preacher, shared with permission

    Adrian Landon Brooks and Jaime Molina Assemble Enigmatic Narratives in ‘No Man’s Land’

    May 6, 2025

    Art

    Kate Mothes

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    Within the compartments of reimagined wooden crates or carved sculptures that open on to reveal inner forms, Adrian Landon Brooks and Jaime Molina explore the possibilities of found materials in mixed-media sculptures and paintings. The artists’ duo exhibition No Man’s Land at Preacher Gallery highlights their kindred yet unique approaches.

    Brooks brings found materials to life through collaging and layering, using bold lines, color, and pattern to suggest sacred symbols and merge a sense of newness with age. Molina carves his “cuttys” from hunks of timber, pounding swaths of nails to suggest the hair and beards of solemn male figures.

    Jaime Molina

    An enigmatic narrative undercurrent runs through No Man’s Land, as both artists draw on folk art and craft to explore geometry and assemblage techniques. Cloaked figures and animal-human hybrids nod to the metaphysical in Brooks’ pieces, while Molina’s pensive figures tap into the mysterious of consciousness.

    The show highlights how Brooks and Molina have created “a shared world that feels both ancient and brand new—a thoughtful mix of mysticism, memory, and hand-hewn craft,” the gallery says.

    No Man’s Land opens on May 8 and continues through May 29 in Austin. Find more on the gallery’s website.

    Adrian Landon Brooks

    Jaime Molina

    Adrian Landon Brooks

    Jaime Molina

    Adrian Landon Brooks

    Jaime Molina

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    Melding Craft and Sustainability, Richard Haining Sculpts Sleek Vessels from Reclaimed Wood

    All images courtesy of Richard Haining, shared with permission

    Melding Craft and Sustainability, Richard Haining Sculpts Sleek Vessels from Reclaimed Wood

    April 11, 2025

    ArtCraftDesign

    Grace Ebert

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    Renewal is at the center of Richard Haining’s practice. The Brooklyn-based artist and designer (previously) sculpts supple vessels and functional goods from reclaimed wood sourced from local workshops or buildings destined for demolition. Intrigued by signs of wear and former uses, Haining has a deep reverence for the material and its history.

    In his ongoing STACKED series, small offcuts nest together in intuitively laid grids. An angle grinder and hand tools help to smooth any jagged edges and create the soft, sleek forms Haining is known for.

    The artist shares that his inspiration comes from a wide array of sources, “from Classical Antiquity to East Asian design (to) 17th-century European Craftsmanship.” His holy trinity, though, is beauty, craftsmanship, and mindfulness for the environment. He adds:

    By juxtaposing repurposed ‘low-value’ materials with ‘high-art’ forms, I invite viewers to reconsider what is truly valuable. Ultimately, I hope to spark a conversation about sustainability, showing that art, craftsmanship, and environmental responsibility can coexist—and that beauty can emerge from the most unexpected places.

    Haining is participating in two group exhibitions in New York, one at Lyle Gallery through April 20 and Paraphernalia Exhibition: Desire opening on May 7. Follow the latest on Instagram.

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    Laura Ellen Bacon Brings Somerset Willow ‘Into Being’ at Yorkshire Sculpture Park

    Detail of “Into Being.” All photos by India Hobson. Images courtesy of the artist and Yorkshire Sculpture Park, shared with permission

    Laura Ellen Bacon Brings Somerset Willow ‘Into Being’ at Yorkshire Sculpture Park

    April 7, 2025

    Art

    Kate Mothes

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    From pliable lengths of sustainably sourced Somerset willow, Laura Ellen Bacon (previously) weaves elegant, meandering sculptures. Whether installed on a wall, streaming from windows, or curled up on a plinth, her works invite us to wander through installations that appear alive and moving.

    Bacon’s latest solo exhibition, Into Being, just opened at Yorkshire Sculpture Park. The Derbyshire-based artist created pieces for the park’s 18th-century chapel, centering around an eponymous piece that extends six meters into the nave and reaches three meters high. Mirroring shapes from nature like seed pods, burrows, and cocoons, the undulating form welcomes visitors to step inside a kind of gentle, organic embrace.

    The artist with “Into Being”

    Joining a continuum of artists like Andy Goldsworthy—who has four works permanently on display ay YSP—Nicola Turner, and Kate MccGwire who utilize natural materials to create enigmatic in situ installations, Bacon’s site-specific works respond directly to their surroundings. She constructed “Into Being” on location at YSP over the course of eight weeks, re-interpreting the space by “drawing” with willow. About 80 bundles of Dicky Meadow, a variety known for its slender and straight stem, wind their way through the gallery

    In Britain, people have been weaving with willow for upwards of 10,000 years, primarily using the material for creating baskets. The thin stems are soft, flexible, and lightweight, making them easy to handle and bend. Bacon has developed her own methods during the past two decades, experimenting with relationships between curves and lines, tightness and looseness, and knots and twists to create contemporary, abstract compositions.

    Branches that have naturally fallen from beech trees at YSP form part of the sculpture’s supporting structure, which, “through its material and form, conjures up a primal instinct to nest and reconnect with the natural world,” says a statement. When the installation is dismantled later this year, the material will be repurposed on the YSP grounds to create wildlife habitats.

    Into Being continues through September 7 in West Bretton, England. Find more on Bacon’s website and Instagram.

    “Contact”

    Detail of “Contact”

    “Into Being”

    Detail of “Into Being”

    Detail of “Into Being”

    “Confidant”

    Detail of “Into Being”

    Detail of “Into Being”

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    A Years-Long Collaboration Sees a Traditional Tlingit Tribal House Return to Glacier Bay

    All images courtesy of the National Park Service

    A Years-Long Collaboration Sees a Traditional Tlingit Tribal House Return to Glacier Bay

    March 31, 2025

    ArtCraftDesignFilmHistory

    Kate Mothes

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    People have lived in the area around modern-day Glacier Bay National Park, along Alaska’s rugged southern coastline, for at least around 3,000 years. Nearby, in Groundhog Bay, evidence of human habitation extends back a mindboggling 9,000-or-more years.

    In the mid-18th century, advancing glaciers forced ancestral Huna Tlingit people to abandon their homes. While they could visit certain areas occasionally to hunt and fish, the evolving conditions and ice prevented them from living there. And when the area was designated a national monument in 1925, it seemed possible the displacement would be permanent.

    “I never, ever thought that I would ever see the day, in my lifetime, that Tlingits could return to the Homeland,” says local resident Jeff Skaflestad in the opening of the National Park Service’s short film, “Sanctuary for the Future.” But in 2016, thanks to many years’ work and a collaboration between the National Park Service and the Hoonah Indian Association—the tribal government of the Huna Tlingit clans—Xunaa Shuká Hít marked a momentous homecoming.

    Both a space for tribal ceremonies and a nexus of living history, the house is a sacred place for the Indigenous community that also provides visitors the opportunity to learn about Huna Tlingit culture, history, and oral traditions.

    Xunaa Shuká Hít, which roughly translates to “Huna Ancestors’ House,” was brought to life by three Tlingit craftsmen: Gordon Greenwald, Owen James, and Herb Sheakley, Sr., who spent countless hours carving their ancestors’ stories into meticulously selected trees and wooden panels.

    In a large carving shed in nearby Hoonah, Alaska, the artisans, along with occasional help from friends and neighbors, worked on totem poles, boats, oars, and architectural details. “Having Elders come in and talk with us, just to share with us, that was a highlight of my days,” James says. Sheakley adds that as they began carving, it was an obvious decision to make their own tools, too, as a way of connecting to time-honored traditions. More

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    In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles

    All images courtesy of Stan Squirewell and Claire Oliver Gallery, shared with permission

    In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles

    March 28, 2025

    ArtPhotography

    Grace Ebert

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    Through intimate, mixed-media collages, Stan Squirewell excavates the stories of those who might otherwise be lost in anonymity. The artist gathers images from the Smithsonian’s archives and from friends and family that he then reinterprets with vibrant prints and patterns. Layering unknown pasts with present-day additions, Squirewell explores how everyday traditions and rituals remain through generations.

    His new body of work, Robitussin, Hotcombs & Grease, invokes ubiquitous items like the over-the-counter decongestant and hair care. “Growing up, I was shaped by elders around me, and everyday objects like Robitussin, hotcombs, and grease became vessels for the rituals that anchored me to my heritage,” the artist says. “These items transcend their mundane uses: they embody traditions passed down through generations, grounding me in a collective identity.”

    “Girls on Saturn” (2025)

    Squirewell cuts and collages images and fabrics from his collection before photographing the composition, which then undergoes a digital editing process. An elaborate frame complements each piece with charred shou sugi ban edges—a Japanese burning technique—and hand-carved details. The sides bear various inscriptions connecting past and present, including lines from Langston Hughes’ poems and glyphs from ancestral African languages that have fallen out of use.

    Because the identities and histories of many of the subjects are unknown, Squirewell’s work adds a new relevance to their images. How have daily, domestic practices and the legacies of previous generations informed the present? And how do these traditions create a broader collective experience? Rooted in these questions, the dignified works become reliquaries that honor what’s been passed down and how that continues to inform life today.

    Robitussin, Hotcombs & Grease is on view through May 24 at Claire Oliver Gallery in Harlem. Find more from Squirewell on Instagram.

    “Teddy” (2024), artist-printed photos collaged with paint and glitter in a hand-carved shou sugi ban frame, 43 x 35 x 3 inches

    “Teddy’s Lil Sisters” (2024), artist-printed photos collaged with paint and glitter in a hand-carved shou sugi ban frame, 29 x 24 x 2 inches

    “Girls on Saturn” (2025)

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    Through Knotted Installations, Windy Chien Reinterprets the Hitching Post

    All images © Windy Chien, shared with permission

    Through Knotted Installations, Windy Chien Reinterprets the Hitching Post

    March 14, 2025

    ArtCraft

    Jackie Andres

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    Since the 1800s, hitching posts have shaped a history anchored in utility and community. Scattered throughout towns and outside common areas, the sturdy objects offered a secure point to tie down horses, especially during social events or gatherings. San Francisco-based artist Windy Chien reinterprets this functional object in her ongoing Hitching Post series.

    Interdependent forms are particularly fascinating to Chien. “If the object around which the hitch is tied were to be removed, the hitch collapses and loses its integrity,” she says. Just as the presence of the knot relies on another element to remain intact, social spaces and gatherings rely on collective presence.

    Having received commissions for the projects since 2019, Chien creates unique pieces for a wide range of communal areas, such as airports, offices, houses, and ranches. Cutting wooden supports to various lengths and fastening rope by wrapping and knotting, the flowing and geometric compositions stretch across walls and exterior facades.

    Combining motifs from her Circuit Board series with other techniques, Chien recently completed a large installation in a Los Angeles office stairwell comprised of four works, each spanning 20 feet wide in a gradient of six hues. In April, the artist is looking forward to Ruth Asawa’s retrospective at San Francisco MOMA, where she will be showing several works alongside the exhibition. Find more on her website and Instagram.

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    Matt Roussel’s Textured Woodcuts Metamorphose into Paintings

    All images courtesy of Matt Roussel, shared with permission

    Matt Roussel’s Textured Woodcuts Metamorphose into Paintings

    February 18, 2025

    Art

    Kate Mothes

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    From elaborate portraits to overflowing florals to playful animals, the woodcuts of Matt Roussel (previously) tell a wide range of enigmatic stories. For his large-scale works, Roussel begins by carving wooden panels, but rather than using the blocks to make prints, he applies acrylic paint to the surfaces to create bold, textured paintings. Portraits of women wearing unique garments are complemented by goldfish that metamorphose into birds and giant scarab beetles cloaked in giant flowers.

    Roussel’s work will be on view in several forthcoming art3f fairs throughout Europe, with Strasbourg, Nantes, and Lyon coming up in late February and March. Find more on the artist’s website and Instagram.

    “Three Flowers Scarab,” acrylic on carved wood

    Detail of “Three Flowers Scarab”

    “Métamorphose,” acrylic on carved wood, 60 x 60 centimeters

    “Fleur de Zhou,” acrylic on carved wood

    “Poisson pipe,” acrylic on carved wood, 60 x 80 centimeters

    “La grande fleur,” acrylic on carved wood, 120 x 80 centimeters

    “Golden dance,” acrylic on carved wood, 60 x 80 centimeters

    “3 cimes,” acrylic on carved wood, 120 x 80 centimeters

    Detail of “3 cimes”

    “La falaise,” acrylic on carved wood, 60 x 80 centimeters

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