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  • Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities — Colossal

    Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities — Colossal


    In vibrant patchworks of woven patterns and fuzzy fiber ends, Sarah Zapata’s sculptures (previously) emerge as wall-hung tapestries, standalone pieces, and forest-like installations. Through the convergence of architectural structures, soft textiles, and myriad patterns and textures, her site-specific works examine the nature of layered identities shaped by her Peruvian heritage, queerness, her Evangelical upbringing in South Texas, and her current home in New York.

    Zapata balances time-honored craft practices with contemporary applications, highlighting the significance of Indigenous Peruvian weaving, for example, as a means of communication. Symbols and patterns composed into cloth traditionally provided a means of sharing knowledge and cosmological beliefs.

    an installation view of a gallery with a leaning textile column-like sculpture, with the walls painted in wide orange and red stripes
    Installation view of ‘Beneath the Breath of the Sun’ (2024) at ASU Art Museum, Tempe, Arizona. Commissioned by CALA Alliance

    In abstract sculptures that often merge with their surroundings, Zapata incorporates unexpected and vibrant color combinations with woven fabrics and tufted textures. Resisting easy categorization, her pieces are neither functional nor purely decorative, although they play with facets of both.

    Zapata consciously holds back from creating work that is too “beautiful,” inviting a remarkable, tactile exploration of relationships between craft, lineage, community, and memory.

    Some of the works shown here are included in Support Structures at Sargent’s Daughters, which continues through through May 3. Find more on Zapata’s website and Instagram.

    a gallery wall with a large, draping textile with numerous colors and textures, which extends onto the floor
    “How often they move between the planets” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches
    a detail of a large, draping textile with numerous colors, patterns, and textures
    Detail of “How often they move between the planets”
    a colorful, abstract textile sculpture with different textures, primarily a tall rectangle with a sac-like shape on top
    “Part of the tension (from earthen pits) I” (2024), handwoven cloth, natural and synthetic fiber, and hand coiled rope, 49 x 14 x 14 inches
    an installation view of a gallery with numerous textile column-like sculptures with the walls painted in wide black and gray stripes
    Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni
    a gallery wall with a large, draping textile with numerous colors and textures, which extends onto the floor
    “Towards and ominous time III” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches
    an installation view of a gallery with numerous textile column-like sculptures with the walls painted in wide black and gray stripes
    Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni
    a detail of a textile sculpture showing numerous textures and colors with many fiber ends
    Detail of “Part of the tension (from earthen pits) II”





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  • Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations — Colossal

    Tiff Massey Celebrates Detroit Culture and Style in Monumental Mixed-Media Installations — Colossal


    From larger-than-life double-bobble hair bands to a wall of elaborate braids, Tiff Massey spotlights distinctive Detroit style. Trained as a metalsmith, the artist employs the power of material and scale to highlight the city’s neighborhoods and Black identity and culture.

    7 Mile + Livernois, Massey’s solo exhibition at the Detroit Institute of Arts, takes inspiration from the crossroads at the heart of the city’s Black business and fashion district, where the artist grew up. The area will soon be home to a new arts and community space that Massey is spearheading in an effort to guide and celebrate local kinship.

    large metal sculptures resembling avant garde rings, installed in a black-painted museum gallery
    “Everyday Arsenal” (2018)

    Personal adornment is central to the artist’s expression, which she channels through jewelry, sculptures, and mixed-media assemblages to underscore Black style with a focus on her hometown. “Whatupdoe” and “Everyday Arsenal,” for example, respectively transform a contemporary chain necklace and silver rings into monumental installations, creating terrains of portal-like tunnels and interlocked angles.

    The “ancestral flyness” of the artist’s parents and previous generations also provides a limitless well of inspiration. “How they adorned themselves has definitely been influential not only to how I adorn myself but also to the ideas that I have within the works,” Massey says in an interview for the DIA exhibition catalogue. “Detroiters, when we step outside, we step outside. We want people to see it. We want people to see us. And that has left a tremendous impression on me.”

    7 Mile + Livernois continues through May 11. Find more on the artist’s website and Instagram.

    a wall installation of several oversized red ball hair ties on a black wall
    “Baby Bling” (2023)
    a museum installation of large cubic metal frames interlocked in a giant jumble, inside of a room painted black
    “Whatupdoe” (2024)
    a detail of an art installation of numerous green wigs in a variety of braided styles on a black wall
    Detail of “I’ve Got Bundles and I Got Flewed Out (Green)”





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