architectman

دسته: نقشه‌کشی و مدل‌سازی

  • A Bold Metaphysical Portal by Hilma’s Ghost Stretches 600 Feet Across Grand Central Station — Colossal

    A Bold Metaphysical Portal by Hilma’s Ghost Stretches 600 Feet Across Grand Central Station — Colossal


    A glass mosaic covering 600 square feet of the 2nd Street entrance to the 7 train in Grand Central Station greets commuters with a bold, cosmic map. The work of Sharmistha Ray and Dannielle Tegeder, of the feminist collective Hilma’s Ghost, “Abstract Futures” is a vibrant, three-part portal to transformation.

    Named after the visionary artist and mystic Hilma af Klint(1862–1944), the collective formed in 2020 and typically pairs innovative contemporary art practices with spirituality. Their tarot deck has amassed a cult following and shares a name with this new MTA Arts & Design-commissioned project (previously), the group’s first public artwork.

    detail of a vibrant geometric mural made of mosaic

    Abstract Futures opens with “The Fool,” a tarot card representing an embrace of new beginnings. Brilliant reds, pinks, and oranges nest together in entrancing, angular forms to invoke courageous, creative intuition at the start of a journey.

    In the center is “The Wheel of Fortune,” which is intended to bring this passionate, if not naive, energy back to Earth. Here, grounding greens and browns form a cyclical pattern that reflects a natural rhythm. Concentric orbs and a string of ochre diamonds propel the viewer toward the future.

    The last piece in the trio is also the largest, beginning with a celestial blue triangle met by an inverted plane in orange. This pairing draws on “The World,” creating a harmonious, unified relationship between the shadows and wisdom that exist within all of us.

    Red, horizontal bars at the far right call on tarot’s suit of wands. Generally associated with fire and primal energy, this final segment symbolizes regeneration and the ability to begin again.

    a vibrant geometric mural made of mosaic in the subway

    In a statement, the artists say they hope the work inspires a new way of looking at the city:

    Abstract Futures is about the connection between people, spaces, and time, and intended to provide a powerful reflection of what New York represents to us all. The city is at once a sprawling metropolis with millions of people but also a dynamic network of interconnectivity. As we make our way through a single day in New York, we connect with so many people from so many walks of life. The density of the mural’s imagery, pattern, and color is a metaphor for the endless diversity of the city that is its heartbeat.

    Miotto Mosaic Art Studios fabricated the work, and you can explore Hilma’s Ghost’s collaborative projects on its website. (via Hyperallergic)

    a vibrant geometric mural behind turnstiles
    a vibrant geometric mural made of mosaic in the subway
    a vibrant geometric mural made of mosaic in the subway
    a vibrant geometric mural made of mosaic in the subway
    detail of a vibrant geometric mural made of mosaic
    detail of a vibrant geometric mural made of mosaic
    a vibrant geometric mural made of mosaic in the subway
    a vibrant geometric mural made of mosaic in the subway



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  • Booooooom x Capture Photography Festival: Ning Cheng Interview

    Booooooom x Capture Photography Festival: Ning Cheng Interview


    The artist selected from our latest Capture Public Art Open Call is Ning Cheng! Thank you to everyone who submitted. Ning was born in Ningbo, China and currently lives and works in London. An image-based artist working with photography and sculpture, Ning’s practice is rooted in the exploration of personal perception. She aims to abstract and transform the overlooked feelings of life and expand them into a universal experience.

    Ning’s images have now been installed at the Olympic Village Canada Line Train Station, here in Vancouver, as part of Capture 2025. I had the opportunity to ask Ning some questions to provide more context for her work. Check out our full interview below!



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  • Hundreds of Huge Flowers Spring Forth in Carly Glovinski’s Monumental ‘Almanac’ — Colossal

    Hundreds of Huge Flowers Spring Forth in Carly Glovinski’s Monumental ‘Almanac’ — Colossal


    “Gardening gives one back a sense of proportion about everything—except itself,” author May Sarton (1912-1995) wrote in her book Plant Dreaming Deep (1968), a journal about discovering a love of tending to the land. For Carly Glovinski (previously), the sentiment incidentally frames something of a raison d’être for the artist’s remarkable large-scale floral installation at MASS MoCA.

    Glovinski was especially moved by Sarton’s book The House by the Sea (1977), which traces the author’s move from New Hampshire to the seacoast of Maine. The vibrancy of gardens spurred the artist’s fascination with flowers, culminating recently in an expansive work titled “Almanac.”

    a segment of a large, full-wall installation of numerous flower painting cutouts that resemble giant pressed flowers all along a white wall

    Celebrating the diversity and dynamism of blooms, the piece explores ideas around placemaking and the passage of time. “For Glovinski, the garden is a metaphor for collapsed time and perishable memories,” says an exhibition statement. Along with Sarton, the artist also draws on poet Emily Dickinson’s love for plants, channeling literary reflections on connecting with the simple pleasures—and sublime chaos—of nature.

    “Almanac” takes its name from the annual guide that forecasts weather and a provides calendars for astronomical events, tides, and planting. The piece took more than a year to complete and comprises hundreds of pressed flower paintings made with washy acrylic paint applied to both sides of semi-transparent mylar. The gestural brushstrokes on translucent material evoke a sense of lightness and delicacy, like real petals blown up to larger-than-life size. Above the installation, she’s labeled segments with the months the blooms appear.

    Glovinski references pressed blossoms that she has grown, harvested, or collected from friends, nodding to Emily Dickinson’s love of the practice. (The poet created a stunning herbarium containing 424 specimens collected around her home in Amherst, Massachusetts.) “By observing, tending, and preserving flowers, ‘Almanac’ becomes both a visual record of the seasons and a commentary on the labor of care,” the museum says.

    See more on Glovinski’s website and Instagram.

    a detail of a large, full-wall installation of numerous flower painting cutouts that resemble giant pressed flowers all along a white wall
    a detail of a large, full-wall installation of numerous flower painting cutouts that resemble giant pressed flowers all along a white wall
    a large, full-wall installation of numerous flower painting cutouts that resemble giant pressed flowers all along white walls
    a hand holds a large painted cutout of a flower, in front of numerous others already installed on a wall, to show a realistic rendering of a large-scale yellow bloom that looks pressed





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  • Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs — Colossal

    Get ‘H.A.P.P.Y’ with Liz West’s Immersive Installation Made of More Than 700 Colorful Discs — Colossal


    Spanning nearly the entire floor of the main space of Mercer Art Gallery in Harrogate, Liz West’s expansive new installation invites viewers to revel in color and brightness. The artist has reimagined the historic early-19th-century spa promenade room as a vibrant, sensory immersion.

    West’s solo exhibition, H.A.P.P.Y, takes inspiration from a common malady known as seasonal affective disorder, or S.A.D., which is a form of depression that often manifests in the fall or winter when the days are shorter and the temperatures drop. It typically recedes in the summer and spring.

    two people stand inside of a white gallery space, alongside a floor installation of numerous shiny, colorful circles

    Continuing her interest in the effects of light, reflections, and chromatic relationships (previously), the artist created “Our Colour Reflection,” the centerpiece of H.A.P.P.Y, to highlight the emotional, psychological, and physical power of vibrancy and hue.

    Composed of 765 multi-colored discs layered in low relief across the floor, the piece transforms the environment into a luminous experience that interacts with natural and artificial light and evolves throughout the day.

    H.A.P.P.Y also includes a selection of paintings, drawings, and models for “Our Colour Reflection,” and the exhibition continues through October 5. See more on the artist’s website and Instagram.

    a floor installation of numerous shiny, colorful circles reflecting onto a wall
    a floor installation in a white-walled gallery space of numerous shiny, colorful circles
    a floor installation of numerous shiny, colorful circles





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  • Through a Love of Note-Taking, José Naranja Documents His Travels One Tiny Detail at a Time — Colossal

    Through a Love of Note-Taking, José Naranja Documents His Travels One Tiny Detail at a Time — Colossal


    From postage stamps to jetliner specifications to items he packed for the journey, José Naranja’s sketchbooks (previously) capture minute details of numerous international trips. “I’m lost in the intricate details, as always,” he tells Colossal. Everything from currency to noodle varieties to film references make their way into small books brimming with travel ephemera and observations.

    Naranja is currently working on a thicker book than he has in the past, which is taking more time to fill, along with an illustrated card project called 2050, which merges science, tech events, and his signature “beauty of note-taking” aesthetic. The artist has also reproduced some of his sketches in The Nautilus Manuscript, a small batch-printed, hand-bound edition available for sale in his shop. Follow updates on the artist’s Instagram.

    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    a small sketchbook with elaborately designed travel notes and drawings
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like a stencil and stamps
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    a series of small sketchbooks with elaborately designed travel notes and drawings
    a small sketchbook with elaborately designed travel notes and drawings
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    a small sketchbook with elaborately designed travel notes and drawings, on a table with artmaking tools like pens and ink
    the tops of a series of closed, small sketchbooks showing how full they have become, with color and details on the edges





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  • ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters — Colossal

    ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters — Colossal


    You may have heard of the remarkable quilters of Gee’s Bend, but do you know about the Crossroads Quilters, like Gustina Atlas? Or Hystercine Rankin? Mary Mayfair Matthews? You’re in luck if you have a chance to visit Of Salt and Spirit: Black Quilters in the American South at the Mississippi Museum of Art, which shines a light on dozens of incredible Black Southern quilters and takes a celebratory approach to showcasing their myriad styles and techniques.

    MMA is home to one of the South’s largest collections of quilts, from which more than 50 handmade and machine-stitched examples were drawn for this expansive exhibition. Merging research, interpretation, and community engagement, curator Dr. Sharbreon Plummer aimed for “a cohesive, experiential study of American art through a Black feminist lens.” The show parses cultural narratives around the art form, spotlighting the impact of the craft across generations and geography.

    Emma Russell, “Star Quilt” (1978), cotton blend; hand-pieced, appliquéd, and hand-quilted, 81 x 77 inches

    A wide range of contemporary and historic pieces converge in Of Salt and Spirit, including figurative and narrative works alongside vibrant geometric compositions. Many of the works were acquired by the museum from Roland L. Freeman (1936-2023), a photographer who documented African-American craftspeople and guilds in his work as a stringer for Time magazine and Magnum Photos.

    Freeman collected more than 100 quilts, made several of his own, and published a couple of books on the subject. “Quilts have the power to create a virtual web of connections—individual, generational, professional, physical, spiritual, cultural, and historical,” he says in his second book, A Communion of the Spirits (1996).

    In conjunction with the exhibition, the museum also highlights the large-scale, ongoing AIDS Memorial Quilt project, which was initiated in 1985 at the height of the epidemic. Paralleling Of Salt and Spirit’s focus on creative expression, identity, and strength, the AIDS quilt—which will be on display at MMA for a two-week period beginning May 5—honors quilting for its role in resistance and remembrance.

    Of Salt and Spirit continues through May 18 in Jackson. Plan your visit on the museum’s website. You may also enjoy a look back at Souls Grown Deep Like the Rivers, a monumental survey recognizing the artistic traditions of Black artists.

    Mary Mayfair Matthews, “Folk Scenes Quilt” (1992), rayon, cotton polyester blend, lace, lamé, and buttons; hand-pieced and appliquéd, 86 1/4 x 74 inches
    Annie Dennis (designed by Roland L. Freeman), “Voodoo Quilt” (1987), fabric; hand-pieced, appliquéd, hand-embroidered, and hand-quilted, 83 1/2 x 64 inches
    Detail of “Voodoo Quilt”
    Gustina Atlas, “Variation on Dresden Plate Quilt” (1998), cotton; machine- pieced and hand-quilted, 81 1/2 x 80 inches
    Clancy McGrew, quilted and appliquéd by Jeraline Nicholas, “Storytime at the Library” (2004), fabric; machine-pieced, appliquéd, embroidered, and hand-quilted, 41 3/4 x 83 1/8 inches
    Mabel Williams, “Improvisational Strip Quilt” (1968), cotton, polyester, wool, twill; hand-pieced and hand- quilted with appliquéd and embroidered backing, 85 x 65 inches
    Clancy McGrew, quilted by Tammy McGrew, “Clancy’s Beauty Salon” (2004), fabric; machine-pieced, appliquéd, and hand-quilted, 67 5/8 x 49 1/2 inches
    Roland Freeman, “Maya Angelou, Author, Educator, and Quilter (top left and bottom right); Dolly McPherson, Maya Angelou, and Beverly Guy-Sheftall (top right and bottom left), Winston-Salem, North Carolina, November 1992” (1992), Chromogenic print with quilted mat (1996) by Anita Knox, 36 x 36 inches
    Roland Freeman, “Catherine Gill with Sunburst Quilt (left) Made by Her Mother, Classy Blaylock, from
    Decatur, Mississippi, Flagstaff, Arizona, April 1993″ (1993), Chromogenic print, 27 x 38 inches



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  • “Between Dreamscapes” by Illustrator Leyla Cui

    “Between Dreamscapes” by Illustrator Leyla Cui


    A selection of work by New York City-based illustrator and artist Leyla Cui. Exploring the fluidity of female identity, Cui’s work weaves memory, intimacy, and self-perception into surreal narratives. Through fragmented figures and shifting forms, she examines the body as a vessel of desire, trauma, and transformation. Hair, skin, and touch become symbols of memory, evoking tensions between visibility and erasure. Cui moves beyond traditional representation, challenging fixed perceptions and expanding the emotional depth of storytelling. By giving form to the unspoken, she creates a space where femininity is both intimate and infinite, resonating with the silent yet persistent voices of history and self-discovery.





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  • In Luminous Portraits, Florence Solis Invokes Feminine Power Amid Constraint — Colossal

    In Luminous Portraits, Florence Solis Invokes Feminine Power Amid Constraint — Colossal


    When touched, the hypersensitive makahiya plant folds its minuscule leaflets inward, protecting itself from any potential threat.

    Florence Solis draws on this defensive response in an ethereal collection of portraits. Beginning with digital collages that meld figures and delicate, organic ornaments, the Filipino-Canadian artist translates the imagined forms to the canvas. Shrouded in dainty, beaded veils or entwined with botanicals, each protagonist appears bound and concealed, their bodies and faces obscured by hair or grass.

    a blue portrait of a woman with a beaded veil and long flowing hair
    “Sirena” (2025), acrylic on canvas, 30 x 24 inches

    As Solis sees it, the figures may be restricted, but they’re also able to find strength and transformation. “Filipino women, much like the makahiya, have been taught to yield, to soften, to take up less space,” she says. “And yet, beneath this quietness lies an undeniable force—one that persists, adapts, and reclaims space in its own way.”

    Working in saturated, often single-color palettes, Solis renders figures who appear to harness magical powers. She references Filipino folklore and the belief in the power of the everyday to lead to the divine, painting women rooted in tradition and myth, yet determined to see their transformation through.

    The vivid portraits shown here will be on view at EXPO CHICAGO this week with The Mission Projects. Find more from Solis on Instagram.

    a blue and pink portrait of a woman with horns and flowers around her face
    “Sa Lupa (On Ground)” (2025), acrylic on canvas, 30 x 24 inches
    a purple portrait of a woman with a beaded veil and leaves
    “Totem” (2025), acrylic on canvas, 30 x 24 inches
    a blue and pink portrait of a woman peering through foliage
    “Makahiya VIII” (2025), acrylic on canvas, 20 x 16 inches
    a blue and pink portrait of a woman with hair that wraps around her body and entwines with flowers
    “Makahiya VII” (2025), acrylic on canvas, 48 x 36 inches
    “Alay (Offering)” (2025), acrylic on canvas, 48 x 36 inches





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  • Megan Eagles – BOOOOOOOM! – CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS

    Megan Eagles – BOOOOOOOM! – CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS


    For our third annual Booooooom Photo Awards, supported by Format, we selected 5 winners, one for each of the following categories: Portrait, Street, Colour, Nature, Fashion. You can view all the winners and shortlisted photographers here. Now it is our pleasure to introduce the winner of the Colour category, Megan Eagles.

    Megan Eagles is a self-taught photographer based in Camberwell, London with her family, a cat and 7 chickens. Shooting on film with natural light, she describes her work as “people-focused stories with a documentary slant”.

    We want to give a massive shoutout to Format for supporting the awards this year. Format is an online portfolio builder specializing in the needs of photographers, artists, and designers. With nearly 100 professionally designed website templates and thousands of design variables, you can showcase your work your way, with no coding required. To learn more about Format, check out their website here or start a 14-day free trial.

    We had the chance to ask Megan some questions about her photography—check out the interview below along with more of her work.





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  • Monumental Murals by Agostino Iacurci Vibrantly Reimagine Urban Facades — Colossal

    Monumental Murals by Agostino Iacurci Vibrantly Reimagine Urban Facades — Colossal


    Murals by Agostino Iacurci bring drab buildings to life in bold jewel tones, playful patterns, color blocks, and symmetry. Whether painting directly onto bricks and plaster or designing immense fabric sheaths to cover construction scaffolding, the artist’s vibrant compositions enliven street corners and urban thoroughfares.

    Iacurci often emphasizes geometric patterns, flora, classical vases, and niches that hold symbolic objects or figures. You might enjoy checking out Gingko Press’s Mural Masters, a survey of the next generation of street artists, and see more on Iacurci’s website and Instagram.

    a long, wide building with colorful murals of palm trees and geometric patterns, photographed with a person riding a scooter in front of it
    “Landscape n.1” (2021), wall painting, 27.7 x 7.1 meters. Las Vegas, Nevada. Commissioned by Life is Beautiful
    an aerial view of a building covered entirely in a colorful, geometric mural with a light yellow background and green, blue, and red patterns
    “Disegno d’esame” (2021), enamel on wall, dimensions variable. Pascucci Elementary School, Santarcangelo di Romagna. Photo by Francesco Marini
    a colorfully designed fabric mural with abstract flower shapes, draped over the side of a building to mask scaffolding
    “Grüne Oase” (2024). Frankfurt am Main, Germany. Photo by Ivan Murzin
    the end of a long block of apartments with a tall mural of a Greek-style vase filled with abstract color blocks and patterns
    “COINCIDENCES.” Ensorinstituut, Oostende, Belgium. Produced by The Crystal Ship
    a detail of a large-scale mural on a brick surface with abstract color blocks
    Detail of “COINCIDENCES”
    a large-scale printed covering for scaffolding with geometric shapes of amphorae and other patterns
    “Landscape n.2” (2021), print on PVC scaffold sheet, 17 x 14 meters. Pastificio Cerere, Rome. Photo by Carlo Romano
    a colorful, geometric mural on the side of a wide building
    “Landscape n.3” (2021). Pinacoteca Civica, Foggia. Photo by Domenico d’Alessandro
    a large mural on a building with a curved facade, featuring geometric shapes and a series of Viking ships
    “L’antiporta” (2021), paint on wall, dimensions variable. Biblioteca Ugo Tognazzi, Pomezia. Curated by Marcello Smarrelli and Pastificio Cerere for Sol Indiges. Photo by Lorenzo Palmieri
    a detail of a large-scale mural on a building comprising geometric patterns and a figure in a green dress
    Detail of “L’antiporta”
    part of a mural on a two-story building in Italy, with a red background and geometric thistle designs
    Detail of “Cardi (1571-2021).” Photo by Domenico d’Alessandro
    a detail of a building covered entirely in a colorful, geometric mural with a light yellow background and green, blue, and red patterns
    Detail of “Disegno d’esame.” Photo by Domenico d’Alessandro





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