Impossibly Small Houseplants and Basketry Crafted from Paper by Raya Sader Bujana

All images © Raya Sader Bujana. Photography by Leo García Méndez, shared with permission

Barcelona-based artist Raya Sader Bujana (previously) defines her work as something between sculpture and illustration, creating impossibly tiny replicas of houseplants that rest atop a finger. From leaves to blooms and thorns to branches, even the delicate woven baskets that contain the plants are constructed from paper with the aid of tweezers and scalpels in a process more akin to surgery than origami. Her background in architecture translates to an exacting quality of “composition, use of color, texture, volume, light and sometimes subject matter,” she shares. In addition to selling original works and prints on Etsy and Society6, Bujana also has a wide range of corporate clients like Coca Cola, Swarovski, and HP. You can follow more of her process and updates to her online shops on Instagram.

 

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Macro Shots of Glitter and Ink Simulate Dramatic Astronomical Events

The last time we checked in with filmmaker Vadim Sherbakov he was soaring high above Iceland, capturing stunning aerial views with the help of a drone. In his latest short, Velocity, he zooms into ethereal mixtures of soap, ink, glitter, and alochol that appears to simulate a combination of biological and galactic phenomena. The driving idea behind the film’s creation was simply the idea of “a colorful journey though uncharted cosmos,” says Sherbakov. He collaborated with set designer Luidmila Tregub who was responsible for creating the primordial mixture of liquids that result in several amazing sequences in the film. (via PetaPixel)

 

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Through Blocks of Geometric Color, Artist Derrick Adams Celebrates the Joy of Self-Expression

“Style Variation 35” (2020), acrylic paint and graphite on digital inkjet photograph, 245.1 x 153 x 4.4 centimeters. All images © Derrick Adams, courtesy Salon 94, New York

In Looks, artist Derrick Adams references the immense potential of a wig to alter an appearance and construct a persona. The exhibition, which is on view at the Cleveland Museum of Art through May 29 alongside a survey of art and fashion photography titled The New Black Vanguard (opens May 8), shows nine of Adam’s portraits rendered in the artist’s distinct geometric style evocative of “Benin heads, Kwele masks, Kota reliquary figures,” and other West African masks and sculptures, he says in a statement.

Standing more than eight feet tall, the acrylic-and-graphite works center on busts with direct gazes, their faces mapped with different skin tones and makeup lining rounded eyelids and lips. The elaborate wigs in rainbow stripes and faded ombre are inspired by the salons and shops in Adams’ Brooklyn neighborhood. He reinterprets these functional wearables as bold, two-dimensional portraits that speak to the importance of hair in Black culture and the power of defining oneself through spectacular, joyful adornments. He explains about the works:

I feel more than ever that it is essential for artists to make work that celebrates Black culture. As a Black man, I am aware of my vulnerability and susceptibility to trauma and oppression on a daily basis. I personally don’t need to be reminded of it in art and choose to instead highlight Black normalcy. Those who participate in Black culture understand there are images that are less important for us to see than images of joy.

For more of Adams’ works across painting, sculpture, collage, and performance, visit his site and Instagram.

 

“Style Variation 33” (2020), acrylic paint and graphite on digital inkjet photograph, 245.1 x 153 x 4.4 centimeters

“Style Variation 34” (2020), acrylic paint and graphite on digital inkjet photograph, 245.1 x 153 x 4.4 centimeters

“Style Variation 37” (2020), acrylic paint and graphite on digital inkjet photograph, 245.1 x 153 x 4.4 centimeters

“Style Variation 28” (2020), acrylic paint and graphite on digital inkjet photograph, 245.1 x 153 x 4.4 centimeters

“Style Variation 32” (2020), acrylic paint and graphite on digital inkjet photograph, 245.1 x 153 x 4.4 centimeters

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Foliage and Moss Renew Abandoned Sites Around the Globe with Verdant Signs of Life

A train repair workshop in Hungary. All images © Jonk, shared with permission

Spanning an open-air Taiwanese warehouse to a Cuban theater teeming with vibrant leaves, the sites that Jonathan Jimenez visits are relics of the industries and cultural institutions of the past. The French photographer, who works as Jonk (previously), has cultivated a practice centered on documenting abandoned structures around the globe, many of which have been cloaked in mosses, lush foliage, and even jungle-like vegetation.

In his most recent collection, Jonk visits 35 locations in 25 countries and captures the crumbling roofs, peeling facades, and rusted trains in their midst. He compiles the series in his seventh book titled Urbex Monde, which pairs the largely architectural photos with notes, histories of the sites, and anecdotes from his encounters in a consideration of nature’s enduring ability to reclaim what humans have left behind.

The new volume is available from Arthaud—note that the text is written in French—and you can follow Jonk’s future travels on Instagram.

 

A theater in Abkhazia

A house in Montserrat

A car graveyard in Sweden

A theater in Cuba

A warehouse in Taiwan

An asylum in Italy

A car graveyard in Sweden

A house in Namibia

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Paper Sculptures by Roberto Benavidez Reenvision Common Birds and Fantastical Creatures as Metallic Piñatas

‘”Javelina Girl (Illumianted Piñata No. 14).” All images © Roberto Benavidez, shared with permission

At once fantastically imaginative and embedded in tradition, the shimmering piñatas that comprise Roberto Benavidez’s body of work expand the boundaries of the conventionally festive object. The Los Angeles-based artist (previously) cuts skinny, triangular strips of material that he attaches to paper mache forms in the shape of birds, hybrid animals, and otherworldly creatures. His metallic works often address questions of identity—the artist speaks about this further in a Colossal interview—particularly considerations of gender and sexuality through the lens of his layered forms.

Benavidez’s gynandromorphs series, for example, reenvisions the phenomenon in common bird species by splicing male and female bodies together into a mirrored sculpture—three of these pieces will be on view through June 14 at The Loft at Liz’s in Los Angeles. He’s also continuing his renditions of Hieronymous Bosch characters and illuminated manuscripts, the latter of which includes the polka-dotted wildcat and portly, tusked “Javelina Girl” shown above. While drawing on centuries-old works, narratives, and myths in these series, each piñata is the artist’s reinterpretation of the classic iconography and themes into an inventive, contemporary form.

In the coming months, a few of Benavidez’s birds will be on view at Heron Arts, and the group exhibition devoted to piñatas that opened last fall at Craft in America will be traveling to the Mingei International Museum in San Diego. Follow news about upcoming opportunities to see his sculptures in person on Instagram.

 

“Illuminated Piñata No. 19”

“Scarlet Glossy Ibis (Halfbreed No. 1)”

“Spotted Wildcat Piñata (Illuminated Piñata No. 17)”

“Pug on Pig”

“Gynandromorph Phainopepla”

“Oyster or Snail? (Birdr No. 1)”

Detail of ‘”Javelina Girl (Illumianted Piñata No. 14)”

“California Quail”

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Fire Erupts From a Gigantic Fantastical Dragon-Horse Designed and Operated by La Machine

Photo © Emmanuel Bourgeau. All images courtesy of La Machine, shared with permission

The street theater group known as La Machine revived one of its legendary beasts for an ongoing show in Toulouse. “Long Ma,” an enormous dragon-horse hybrid weighing 45 tons and standing 11 meters tall, was originally unleashed in Beijing in 2014 and now joins a minotaur and gigantic spider for an ongoing exhibition at La Halle in the French city. Each day through May 8, a team of artists animates the mechanical creature, which can be seen trotting, galloping, and rearing upward through the streets while she greets her similarly massive companions.

Capable of spitting smoke and water, the fire-breathing “Long Ma” is made from a combination of steel, wood, leather, blown glass, golden leaves, horsehair, and textiles. She also cradles a Chinese temple inspired by the Forbidden City on her back, which is big enough for 35 people to join her on her daily adventures.

Tickets to encounter the explosive character are available on the exhibition site, and you can see more of La Machine’s puppet-like creations in action on Instagram.

 

Photo © Emmanuel Bourgeau

Photo © Jordi Bover

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Globular Reliefs and Drippy Mounds Comprise a Technicolor Collection of Dan Lam’s Sculptures

All images courtesy of Stephanie Chefas Projects, shared with permission

Armed with polyurethane foam, epoxy resin, and acrylic, artist Dan Lam (previously) sculpts technicolor forms that ooze, bubble, and trickle in long drips. She layers materials into masses of neon color progressions and textured blobs, forming amorphous puddles and mounds with cavernous insides.

Lam’s solo show Personal Legend expands the artist’s repertoire to include perfectly round reliefs with concentric gradients. Created by pouring and spreading resin over the foundational shape—head to Lam’s Instagram to dive into the process—the wall-based works are coated in droplets that bead on the surface. Mesmerizing in dimension and vibrant color palette, the resulting sculptures are displayed as single circles or large, sprawling clusters.

Personal Legend is on view through May 7 at Stephanie Chefas Projects in Portland.

 

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