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برچسب: Colossal

  • Here’s What We’re Excited to See at EXPO CHICAGO 2025 — Colossal

    Here’s What We’re Excited to See at EXPO CHICAGO 2025 — Colossal


    This week marks the beginning of Chicago’s art world Olympics as the largest fair returns to Navy Pier. From April 24 to 27, EXPO CHICAGO will host hundreds of galleries, site-specific projects, talks, and multi-disciplinary programming both downtown and across the city.

    To help you navigate, we’re sharing the artworks we’re most looking forward to seeing. And, if you haven’t gotten your tickets yet, use the code COLOSSAL25 for $5 off.

    1. Wangari Mathenge with Pippy Houldsworth Gallery (London)

    The Chicago-based, Kenyan artist will present a collection of vivid new paintings that speak to the immense amount of information generated through her intensive research process. Surrounded by books, plants, and brightly patterned East African Kanga fabrics, Mathenge’s figures lounge among objects that transcend colonial narratives.

    an abstract work of tiny rolled paper seeds with a blue and green section in the center surrounded by white
    Ilhwa Kim, “Calculative Flight” (2024), hand-dyed hanji paper, 132 x 164 x 13 centimeters

    2. Ilhwa Kim, Gordon Cheung, and Zheng Lu with HOFA (London)

    We’ve long been enamored by Kim’s roving, rolled-paper compositions that delineate dense pathways through broader expanses. Her dynamic works will be on view alongside Cheung’s decadent paintings and Lu’s stainless steel splashes.

    a portrait in purple of a woman with hair that wraps around her whole body
    Florence Solis, “Makahiya VI” (2025), acrylic on canvas, 48 x 36 inches

    3. Florence Solis with The Mission Projects (Chicago)

    Beginning with digital collage before moving to acrylic and canvas, Solis renders ethereal portraits of women infused with Filipino folklore. Delicate leaves and flowers entwine with coiled hair, while veils shroud the figures in luminous coverings, binding each with a protective, yet restrictive layer.

    a surreal landscape with blocky distortions and various levels
    Suntai Yoo, “The Words” (2024), acrylic on canvas, 91 x 117 centimeters

    4. Suntai Yoo with Galerie Gaia (Seoul)

    Fragmented, surrealist landscapes figure prominently in Yoo’s paintings, which frequently pair common objects like books, bicycles, and apples with Korean letters. The artist is particularly interested in metaphor and how distinct items interact to create meaning.

    a portrait of a young girl with a helmet on in front of a vibrant patchwork style quilt
    Desmond Beach, “The Guardian of the Small & Sacred” (2025), digital painting, woven Jacquard loom, hand and machine sewn pieceworked fabric, 47″x 47 inches

    5. Desmond Beach with Richard Beavers Gallery (Brooklyn)

    Mixing digital painting with patchwork quilts, Beach creates bold, forward-looking portraits. The Baltimore-born artist invokes the ways that trauma can be harnessed for resistance and collective solidarity.

    the torso of a knight with drippy fingers rendered in pink, blue, and gray
    Jimmy Beauquesne, “Phase 3. Knight of infinite resignation” (2023-2024), colored pencils on paper, hand-cut metallic frame, 62 x 41 x 2 centimeters

    6. Jimmy Beauquesne with Fragment (New York)

    Nested inside hand-cut metallic frames, Beauquesne’s colored-pencil works imagine a dreamy, apocalyptic world that drips with fantastic details. The nine pieces form a narrative of humanity’s transformation sparked by phantasmagorical change.



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  • ‘Ukrainian Modernism’ Chronicles the Nation’s Midcentury Architectural Marvels — Colossal

    ‘Ukrainian Modernism’ Chronicles the Nation’s Midcentury Architectural Marvels — Colossal


    During the Soviet era, modernist architecture rose to popularity as a means to express power, prestige, and views toward the future following World War II. Across Eastern Europe, asymmetric details, geometric rooflines, circular footprints, monumental murals, and blocky brutalist structures rose in defiance of pre-war classical and vernacular styles.

    In Ukrainian Modernism, Kyiv-based photographer and researcher Dmytro Soloviov’s first book, the nation’s under-recognized mid-20th-century built heritage takes center stage.

    “Ukraine’s modernist buildings are an extraordinary blend of function, avant-garde aesthetics and ingenious design, but despite these qualities, they remain largely unrecognised,” says a statement from FUEL, which will release the book later this month.

    Soloviov chronicles a buildings that are often stigmatized for their inception during the Soviet era and subsequent neglect and redevelopment over time. In the face of the nation’s struggle to overcome Russia’s ongoing incursion, war continues to threaten historic buildings. Ukrainian Modernism combines Soloviov’s contemporary photos with archival images, exploring the breadth of the region’s architectural marvels.

    Preorder your copy on FUEL’s website.





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  • Land, Sea, and Wiry Trees Converge in 100architects’ Imaginative New Playground — Colossal

    Land, Sea, and Wiry Trees Converge in 100architects’ Imaginative New Playground — Colossal


    Through colorful squiggles embedded with games, trampolines, and sculptural trees, a new public park in Guangzhou, China, re-envisions the possibilities of play.

    “Wired Scape,” which design firm 100architects bills as an “an entangling forest of imagination and fun,” takes inspiration from the natural landscape to create a one-of-a-kind playground in a residential area. Trees resembling balls of colorful wire appear to spin out of the ground, and curvaceous green and blue forms reflect the interaction of land and water.

    https://www.youtube.com/watch?v=tSOJyREz1f8

    Lively trees made from pipes spiraling around central cores serve a triple purpose as climbable structures, shade-providing canopies, and supports for a series of interconnected bridges throughout the park. The overall aesthetic recalls computer-generated imagery in video games or animation.

    100architects aimed to break away from traditional playground design and instead focus on the layout as a multigenerational space. Children’s imaginations are stimulated by myriad ways to jump, climb, slide, and run, while caregivers and parents have ample options for shaded seating with clear sight lines.

    Explore 100architects’ exuberant public installations on the studio’s website and Instagram, and check out more incredible playgrounds.

    an aerial view of part of an elaborately designed playground with blue and green designs on the ground and wire-like sculptural trees holding up bridges and play equipment
    an aerial view of an elaborately designed playground with blue and green designs on the ground and wire-like sculptural trees holding up bridges and play equipment
    an aerial view of an elaborately designed playground with blue and green designs on the ground and wire-like sculptural trees holding up bridges and play equipment
    an aerial view of an elaborately designed playground with blue and green designs on the ground and wire-like sculptural trees holding up bridges and play equipment
    an evening view of an elaborately designed playground with blue and green designs on the ground and wire-like sculptural trees holding up bridges and play equipment
    an aerial view at dusk of an elaborately designed playground with blue and green designs on the ground and wire-like sculptural trees holding up bridges and play equipment
    a nighttime view of an elaborately designed playground with blue and green designs on the ground and wire-like sculptural trees holding up bridges and play equipment
    part of an elaborately designed playground with blue and green designs on the ground and wire-like sculptural trees holding up bridges and play equipment





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  • Water Droplets Cling to Fluorescent Plant Spines in Tom Leighton’s Alluring Photos — Colossal

    Water Droplets Cling to Fluorescent Plant Spines in Tom Leighton’s Alluring Photos — Colossal


    water droplets cling to spines on a vividly colored plant
    All images courtesy of Tom Leighton, shared with permission

    Grace Ebert

    Tom Leighton (previously) is known for highlighting plants’ photosynthesis process by swapping their characteristic greens for otherworldly fluorescent colors. Often focused on the nightlife of specimens found around his Cornwall home, Leighton photographs in a manner that turns common species into extraordinary subjects.

    His newest series, Spines, expands on this trajectory. The macro images concentrate on the fine fibers cloaking stems and flowers. Water droplets cling to the surfaces as if the plants had just emerged from a heavy downpour. The glistening botanicals capture the surrounding light, while the thick dew drops add a glimmering, skewed view of the lifeforms that reside underneath.

    Prints of Leighton’s images are available on his website. Keep up with his latest projects on Behance and Instagram.

    water droplets cling to spines on a vividly colored plant
    water droplets cling to spines on a vividly colored plant
    water droplets cling to spines on a vividly colored plant
    water droplets cling to spines on a vividly colored plant
    water droplets cling to spines on a vividly colored plant
    water droplets cling to spines on a vividly colored plant





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  • OK Go’s New Music Video Is a Dizzying Kaleidoscope of 60 Mirrors and 29 Robots — Colossal

    OK Go’s New Music Video Is a Dizzying Kaleidoscope of 60 Mirrors and 29 Robots — Colossal


    Known for their elaborate performances almost as much as their albums, the American band OK Go just released a new music video that is very literally a hall of mirrors. Filmed in a Budapest train station, “Love” incorporates 29 robots and 60 mirrors that move in perfect synchronicity. The result is an endlessly evolving kaleidoscope that distorts reality and illusion, connecting the band and their surroundings through a trippy, impeccably timed production.

    To get a closer look at the making of this iconic video, check out the behind-the-scenes video shot from the perspective of each band member.

    https://www.youtube.com/watch?v=gz9BRl7DVSM

    an animated gif of a band performing with mirrors and balloons to create a kaleidoscopic effect
    a still of a man in a mirrored suit singing in front of mirrors
    an animated gif of a band performing with mirrors and spelling out the word "love"



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  • A Stunning Image of the Australian Desert Illuminates the Growing Problem of Satellite Pollution — Colossal

    A Stunning Image of the Australian Desert Illuminates the Growing Problem of Satellite Pollution — Colossal


    In January 2021, Joshua Rozells ventured out into the Pinnacles Desert in Western Australia, intending to photograph a star trail. But after shooting for more than three hours and reviewing his images, he realized that the light patterns he captured weren’t what he had hoped for.

    “There were satellite trails visible in almost every single photo,” he wrote on Instagram. “Instead of trying to get rid of them for a star trail, I decided to put the satellite trails together into a single image to show how polluted the night sky is becoming.”

    Stitching together 343 distinct photos, Rozells illuminates a growing problem. When Elon Musk’s SpaceX launched Starlink in 2019, 60 satellites filled the skies, with a race from other companies to follow. That number has now topped 10,000, with tens of thousands more in the works. SpaceX alone plans to launch 40,000 more.

    Rozells’ composite visually echoes pleas from astronomers, who warn that although satellites collect essential data, the staggering amount filling our skies will only worsen light pollution and our ability to study what lies beyond. Because this industry has little regulation, the problem could go unchecked.

    “Thankfully, astronomers across the globe have taken notice of this growing issue and are starting to speak up,” Rozells adds. “Organisations such as the International Astronomical Union’s Center for the Protection of the Dark and Quiet Sky are advocating for the regulation and protection of the night sky.” (via Kottke)





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  • With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art — Colossal

    With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art — Colossal


    The monumental textile exhibition that took over an 18th-century warehouse last spring is back for a second iteration.

    In the South Street Seaport area of Manhattan, The Golden Thread 2: A Fiber Art Show returns with more than 100 artworks made by 60 artists from around the globe. As with the first iteration, this reprisal includes eight site-specific installations that respond to the former mercantile space.

    colorful textile strands spill down in a gallery
    Tomo Mori, “(we) keep going” (2025), donated fabrics, used clothes and linens, acrylic and cotton fillings, and anodized aluminum wires

    Organized by BravinLee, The Golden Thread is a sweeping survey of contemporary fiber art encompassing a vast array of materials, aesthetics, and subject matter. Several artists connect textiles’ historical association with femininity and domesticity, including Ana María Hernando’s pair of cascading tulle works. Frequently working with the gossamer fabric, Hernando sees her sculptures as an act of rebellion in which “softness becomes less a discreet quality and more a function of power, both formally and symbolically.”

    Similarly, Diana Weymar presents “American Sampler,” a collection of embroidered, typographic works made during a five-year period. Created to showcase a woman’s skill and literacy throughout the 18th century, samplers have a long history as sites of feminine expression. Weymar draws on this legacy for this patchwork tapestry, which is part of her ongoing Tiny Pricks Project created in 2018 in response to Donald Trump’s tumultuous first term.

    Colossal readers will recognize several artists in this second exhibition, including Caitlin McCormack, Rima Day, Willie Cole, and Ulla-Stina Wikander. The Golden Thread is on view through May 16.

    a tapestry of embroidered sayings
    Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss
    detail of a tapestry of embroidered sayings dealing with womens rights and bodily autonomy
    Detail of Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss
    a delicate crocheted flower on a patterned shard
    Caitlin McCormack, “Babylon Rec Room,” vintage wallpaper on salvaged drywall with crochet cotton string and glue embellishment
    a textile work depicting a revolutionary-era court scene
    Ali Dipp, “Concession No 3 (Trumbull, Capitol)” (2024), manually stitched threads on denim jeans, 79 x 117 inches
    a patchwork elephant sculpture on the right with an umbrella like blue work suspended in the background
    Left: Fran Siegel, “Medicine Wheel” (2020), cyanotype, scrim, embroidery, sewing, string, and mounted on bar, 90 x 60 x 10 inches. Right: Manju Shandler, “The Elephant in the Room” (2024), mixed media soft sculpture, 6 x 6 x 9 feet
    a vibrant abstract, almost figurative wall work with a smaller work on the side
    Traci Johnson. Left: “Lil Femme,” yarn on cloth, 12.5 x 22 inches. Right: “Love Me in a Place Where There’s no Space or Time” (2023), yarn on cloth, 7.5 x 7.2 feet
    a vibrant abstract tapestry with threads dangling from the bottle
    Sam Dienst, “Clutter Conundrum” (2024), hand-woven tapestry with yarn, beads, paint, and felt, 56 x 57 x .25 inches



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  • Remarkable Photos by Cristina Mittermeier Spotlight the Need for Hope Amid Crisis — Colossal

    Remarkable Photos by Cristina Mittermeier Spotlight the Need for Hope Amid Crisis — Colossal


    Through her tireless research and advocacy for the protection of the world’s oceans, Cristina Mittermeier has emerged as one of the most prominent conservation photographers. Along with Paul Nicklen, she co-founded SeaLegacy to focus on the impact of communication through art and science, confronting critical issues like endangered biodiversity and the climate crisis. She also founded the International League of Conservation Photographers (ILCP), a professional community focused environmental issues.

    Acknowledging the negative and potentially disastrous effects of indifference, skepticism, and inaction, Mittermeier posits that one thing remains as important as ever. “HOPE may not be a plan or a strategy, but it is vital for our survival,” she says in an introductory note for her new book. “I ferociously reject apathy, cynicism, and fear, and with tenacity and determination, I choose kindness and Hope.”

    an underwater photograph of sharks swimming near the surface

    Published by Hemeria, HOPE is organized into six chapters that highlight the myriad ways humanity and nature are fundamentally intertwined. The first, “Indigenous Wisdom,” features the knowledge and traditions of communities who tap into ancient ways of connecting with the earth. Additional chapters focus on the oceans, arctic realms, the afterlife, future generations, and how all of these elements are interwoven. Throughout, Mittermeier’s bold photographs of wildlife, remarkable landscapes, tribal rituals, and family bonds serve as reminders of incredible beauty, resilience, and determination.

    Mittermeier travels the world, visiting remote communities, attending significant ceremonial events, and documenting fragile ecosystems. “Images can help us understand the urgency many photographers feel to protect wild places,” she says in a statement. She continues:

    My work is about building a greater awareness of the responsibility of what it means to be human. It is about understanding that the history of every living thing that has ever existed on this planet also lives within us. It is about the ethical imperative—the urgent reminder that we are linked to all other species on this planet and that we have a duty to act as the keepers of our fellow life forms.

    HOPE is available for purchase now in Hemeria’s shop and will be available widely in other retail locations this October. Dive into more of Mittermeier’s work on her website and Instagram.

    a black-and-white photograph of a man with tattoos on his back holding his daughter in front of a coastal landscape
    a spread from the book 'HOPE' of a series of small icebergs against a pink sky
    a portrait of a young Black woman with black-and-orange face paint and an elaborate headdress of yellow spheres, twigs, and other natural objects
    a photograph of tall trees and a path in a wooded parkland setting at sunset
    a spread from the book 'HOPE with a black-and-white photo on the left page of an Indigenous Black woman with face paint and and a floral headdress on, holding her young baby who also wears face paint
    a colorful tropical bird perches on a branch
    a portrait of an Indigenous man with dark face paint and ferns sticking out of each side of a large, feathered headdress
    a spread from the book 'HOPE' showing a line of women with brown skirts on, with a child peeking through the skirts back at the viewer
    a sea turtle swims near the surface of the sea
    the cover of the book 'HOPE with a photograph of a Black woman wearing an elaborate orange-and-red floral headdress





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  • Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine — Colossal

    Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine — Colossal


    For Marianna Simnett, sticking to one medium or theme defies her interpretation of what art can be. She fights the natural proclivity of galleries, collectors, and art enthusiasts to typecast her practice as one thing. “Trying to shed those expectations every time—trying to do something different—it’s exhausting but so worth it,” she says in an interview for Art Basel. “Now the signature is that people don’t know what to expect, and that’s the best outcome possible.”

    Among myriad strains of her practice—which include filmmaking, sculpture, installation, painting, and performance—a collection of bronze crowns created between 2022 and 2024 command our attention. Situated on top of bespoke velvet cushions, Simnett’s Crowns are cast in an alloy that would make the elaborate headpieces burdensome or even painful to wear, yet the meticulously formed arches, band, and spikes manifest as delicate mammals and birds.

    a sculpture of a patinated bronze crown composed of tiny birds and other animals, situated on a pink velvet cushion
    “Hydra” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches

    “Simnett uses vivid and visceral means to explore the body as a site of transformation,” says a statement from SOCIÉTÉ, which represents the artist. “In psychologically charged works that challenge both herself and the viewer, Simnett imagines radical new worlds filled with untamed thoughts, strange tales, and desires.”

    Named for powerful female figures from ancient lore like Discordia, the Greek goddess of strife, or Lilith, a she-demon in Jewish and Mesopotamian mythology, Simnett’s Crowns examine the power, ferocity, and sublimity of allegorical female figures. One can imagine that only supernatural beings could wear these pieces and feel comfortable.

    Simnett’s sculptures were first shown in her exhibition OGRESS in 2022. “In fairy tales and folklore, the ogress is a voracious monster who deceives men and torments children in her quest to ravish them whole,” says an exhibition statement. Simnett wielded “the ogress’ insatiable hunger as a radical force,” illuminating the role of women in myth and legend, especially the symbolic tension between embracing and fearing those who are different.

    Simnett’s solo exhibition Charades opens at SOCIÉTÉ on May 1, coinciding with Berlin Gallery Weekend. Explore a wide range of the artist’s multimedia work on her website and Instagram.

    a sculpture of a gold-coated bronze crown composed of tiny birds and other animals, situated on yellow velvet cushion
    “Laverna” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches
    a detail of a sculpture of a gold-coated bronze crown composed of tiny birds and other animals, situated on yellow velvet cushion
    Detail of “Laverna”
    a sculpture of a bronze crown composed of tiny birds and other animals, coated in metallic silver, situated on a red velvet cushion
    “Discordia” (2023), bronze and velvet, 17 1/2 x 17 1/2 x 16 inches
    a sculpture of a bronze crown composed of tiny birds and other animals, coated in metallic silver, situated on a green velvet cushion
    “Maniae” (2022), bronze and velvet, 17 1/2 x 17 1/2 x 16 inches
    a sculpture of a bronze crown composed of tiny birds and other animals, coated in metallic silver, situated on a blue-gray velvet cushion
    “Lilith” (2024), bronze and velvet, 57 1/2 x 17 1/2 x 17 1/2 inches
    a detail of a sculpture of a gold-coated bronze crown composed of tiny birds and other animals
    Detail of “Lilith”
    a sculpture of a bronze crown composed of tiny birds, coated in metallic silver, situated on a black velvet cushion
    “Astraea” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches





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  • Five Years in the Making, an MiG-21 Fighter Jet Gets a Glow-Up from Tens of Millions of Glass Beads — Colossal

    Five Years in the Making, an MiG-21 Fighter Jet Gets a Glow-Up from Tens of Millions of Glass Beads — Colossal


    “We’re going to make stuff out of beads that is going to take people’s breath away,” says Ralph Ziman in the trailer for “The MiG-21 Project,” a military jet that he and a transcontinental team coated nose to tail in millions upon millions of glass beads.

    For the past 12 years, the Los Angeles-based artist has examined the impacts of the Cold War Era and the global arms trade through a trilogy titled Weapons of Mass Production, motivated by his upbringing in Apartheid-era South Africa. More than half a decade in the making, “The MiG-21 Project” completes the series.

    https://www.youtube.com/watch?v=XCUivE6qae4

    The first installment, “The AK-47 Project,” reimagined the aesthetic of one of the world’s most ubiquitous wartime weapons, the Avtomat Kalashnikova 1947, by coating dozens of the guns in colorful glass beads. The second project revolved around the Casspir, a heavy-duty Mine-Resistant Ambush Protected Vehicle (MRAPV) introduced in the 1970s, which he likewise ornamented in vibrant geometric patterns.

    “The idea was to take these weapons of war and to repurpose them,” Ziman says, flipping the narrative about icons of violence and transforming them instead into symbols of resilience, collaboration, and collectivity. Vehicles and firearms morph into a theater of hope and strength in the face of a terrible 20th-century legacy.

    Apartheid, which in Afrikaans means “separateness,” is the name assigned by the minority white-ruled Nationalist Party of South Africa to a harsh system of racial segregation that began in 1948. The period lasted until 1991 and was closely linked within the context of international relations to the Cold War as tensions erupted between the U.S. and the former U.S.S.R. Spurred by the deterioration of the two countries’ WWII alliance and fears about the spread of Communism into the West, the war began in 1947 and also ended in 1991 when the U.S.S.R. was dissolved.

    During this time, the Russians produced a fighter jet called the Mikoyan-Gurevich MiG-21. The plane is “the most-produced supersonic fighter aircraft of all time,” Ziman says. “The Russians built 12,500 MiG-21s, and they’re still in use today—just like the Casspir and just like the AK-47s. But it’s one thing to say, hey, I want to bead a MiG, and then the next thing, you’ve got a 48-foot MiG sitting in your studio.”

    an elaborately beaded cockpit of a MiG-21 cockpit
    The MiG-21 cockpit

    “The MiG-21 Project” combines photography and costume design with historical research and time-honored Indigenous craft. The project encompasses not only the jet but a series of cinematic photographs and elaborate Afrofuturist regalia inspired by military flight suits, African tribal textiles, and space travel.

    Ziman’s team comprises numerous skilled artisans from Zimbabwe and Indigenous Ndebele women from South Africa’s Mpumalanga Province, who are renowned for their beadwork. For the Ndebele, beadwork is a means of expressing cultural identity and rites of passage, taking on powerful political connotations in the 20th century as it became associated with pre-colonial African traditions and identity.

    Tapping into the lessons of our not-so-distant past, Ziman addresses current conflicts like war and the global arms race, modern colonialism, systemic racism, and white supremacy through the lens of Apartheid. Funds raised throughout the process, part of the mission of the Weapons of Mass Production trilogy as a whole, are being donated to the people of Ukraine in support of the country’s ongoing conflict with Russia.

    You’ll be able to see the “The MiG-21 Project” later this year in Seattle, where it will be on view from June 21 to January 26, 2026, at the Museum of Flight. Explore more on Ziman’s website.

    Photo by Mauricio Hoyos
    a photograph of a fighter jet coated in colorful beaded patterns, sitting inside a hangar or warehouse
    Photo by Mauricio Hoyos
    “Hero Of Cuito Cuanavale,” Inkjet on Moab Entrada paper, 43 x 56 inches
    Photo by Mauricio Hoyos
    an elaborately beaded cockpit of a MiG-21 cockpit
    Detail of the MiG-21 cockpit
    Photo by Mauricio Hoyos
    “The Raider and Her MiG-21,” Inkjet on Moab Entrada paper, 43 x 56 inches
    Photo by Mauricio Hoyos



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