A House of Crimson Steel Vines Harbors Memory and Mourning in Wuhan Shimenfeng Memorial Park

All images by Jin Weiqi

Rambling, weathered ivy constructs the walls of a home placed among the quiet, serene cemetery of Wuhan Shimenfeng Memorial Park. The project of designer Hu Quanchun of Field Conforming Studio, “The Vanished House” elicits the act of remembering in a public space devoted to mourning and memories. Tension between the enduring and transitory pervades the architectural work, shown through the combination of the sturdy material and open roof that appears to fade around the perimeter.

In a statement about the memorializing project, the studio likens the structure to that of a child’s sketch, explaining that the simple design draws attention to the sprawling vegetal forms laser cut from sheets of Corten steel. Over time, the crimson material will age with rain and sun, and its rusted color will stand in starker contrast to the green environment.

For more from Field Conforming Studio, including a similar vine-based project installed at Delong Steel Art Park in Leting, Tangshan, visit its site. (via designboom)

 

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Interview: Nick Cave Unpacks Silence and Compassion Ahead of His First Retrospective at Chicago’s MCA

“Speak Louder” (2011), mixed media including black mother-of-pearl buttons, embroidery floss, upholstery, metal armature, and mannequins, 93 ½ × 199 × 123 inches. Photo by James Prinz Photography, © Nick Cave, courtesy of the artist and Jack Shainman Gallery, New York

A portmanteau of forevermore and for others, Forothermore is a prescient title for the first retrospective of artist Nick Cave opening this week at the Museum of Contemporary Art in Chicago. Cave discusses the career-spanning exhibition in a new interview supported by Colossal Members, starting with his Soundsuits, the captivating costumes of color and fur that are likely his most recognizable pieces. His work consistently confronts racism, homophobia, and other bigotries through the alluring, affecting power of art.

I have to think about the journey and how I get your willingness to explore and go with me. I’m always thinking about ways into the work. Once you’re in, then I tell you what is the root of the work, where is it grounded. At that moment, you have to make that decision. Do I shy away from that and consume myself with the beauty? Beauty for me is optimism. It is the future. It’s me colliding these two forces together and challenging myself, as well as the viewer, to start to dissect, to start to expand on the narrative, to talk about what they’re emotionally feeling and connecting with.

In this conversation, Cave explains how amassing three and a half decades of work in one space has been an enlightening process. He generously shares that he’s no longer allowing tragedy to function as a directive, that his devotion to silence is an essential part of his practice, and that committing 100 percent has the power to produce awe-inspiring results. Read the interview.

 

“Wall Relief” (2013), mixed media including ceramic birds, metal flowers, afghans, strung beads, crystals and antique gramophone, four panels, each 97 x 74 x 21 inches. Photo © Nick Cave, courtesy of the artist and Jack Shainman Gallery, New York

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Memories Rendered in Ballpoint Pen and Oil Paint by Nicolas V. Sanchez Recall Moments of Belonging

“Untitled” (2022), ballpoint pen on paper, 8.9375 x 10.9375 inches. All images courtesy of Sugarlift, shared with permission

Through ballpoint pen drawings and hazy oil paintings, Mexican-American artist Nicolas V. Sanchez (previously) conjures childhood memories, instances of intimacy, and a sense of yearning. Sanchez, whose works vacillate between the incredibly realistic and the dreamlike fog associated with recollection, finds his subject matter in the unassuming and every day. He fixates on the texture of a horse’s short coat and wrinkled neck, the way sleeping children hang their limbs haphazardly off the edge of a couch, and how sunlight permeates sheer curtains scrunched together on a rod.

No matter the medium, Sanchez’s works often evoke his upbringing in the Midwest and his experience as a child of Mexican immigrants. Many of the pieces shown here are included in the artist’s solo show belongings at Sugarlift, which considers connections to histories, ancestors, and geographies. “‘Belonging to’ is always in relation with an enduring sense of to ‘be longing’ for connections that transcend singular explanation,” a statement says.

belongings is on view through June 16 at the New York City gallery, and you can peek into Sanchez’s painstaking process on Instagram.

 

“Mariana” (2022), ballpoint pen on paper, 9.25 x 7.25 inches

“Untitled” (2022), oil on canvas, 96 x 78 inches

“Untitled” (2022), oil on canvas, 96 x 144 inches

“Untitled” (2022), oil on canvas, 96 x 108 inches

“Grandpa” (2021), ballpoint pen on sketchbook, 3.5 x 5 inches

“Family Wall” (2021), ballpoint pen on sketchbook, 3.5 x 5.5 inches

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A Minimal Window-Laden Facade in Paris Sprouts a Luxuriant Vertical Garden

All images © Yann Monel and Michael Denancé, courtesy of Triptyque Architecture

Hidden under a lush canopy of vegetation on Paris’s Left Bank is a minimal, mesh-like structure housing a healthcare center, restaurant, and hotel. The project of the French-Brazilian Triptyque Architecture in collaboration with the Coloco landscaping studio, “Villa M” is a mixed-used building cloaked in a vertical garden that ascends from the sidewalk to the rooftop bar. Foliage and vines trail down from the hotel room balconies and sprout from planters embedded in the facade, establishing a verdant environment spanning 8,000 square meters in the middle of the busy Montparnasse.

In addition to the urban ecosystem, dozens of windows allow for natural lighting throughout the space. “We have explored all of the available surfaces to potentialise the greenery and to avoid energy and carbon waste,” architect Guillaume Sibaud told Plain Magazine. “Villa M” was also named the Building of the Year 2022 by ArchDaily.

For more of Triptyque’s environmentally conscious designs, visit its site and Instagram.

 

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Wooden Characters with Lanky, Curved Bodies by Tach Pollard Are Rooted in Myth and Lore

All images courtesy of Tach Pollard

Oxford-based artist Tach Pollard (previously) allows the sinuous shapes of hawthorn or oak branches to guide the forms of his fantastical figures. The lanky creatures stand on long limbs with hunched shoulders and bowed backs, features determined by the original curve of the wood. Based on legends like the Norse Eddas, The Mabinogion, and the Icelandic Sagas, the sculptures are mysterious and minimal—Pollard tends to leave the natural color and grain of the material intact for their faces and burns the remainder to obtain the deep, black char that envelops their figures. You can shop available pieces on Etsy, and follow the artist on Instagram to stay up-to-date on future releases.

 

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Vibrant Textiles and Repurposed Eyewear Camouflage the Subjects of Thandiwe Muriu’s Celebratory Portraiture

All images © Thandiwe Muriu, shared with permission

From chunky hair beads and rollers to sink strainers and brake pedals, Nairobi-based photographer Thandiwe Muriu (previously) finds fashionable use for ordinary objects. Worn as glasses that obscure a subject’s identity, the repurposed items add cultural flair to Muriu’s vibrant portraits and are connected to both her background and Kenyan life, more broadly. Red fringe evokes the tassel that hung from her uncle’s Toyota Corolla, which transported the artist home from school each day, while the orange plastic drain catcher references the joy found in sharing chores. She explains:

In Kenya, when a group of friends meet, the women usually gather in the kitchen to clean up after the meal is done, and as is part of Kenyan culture, wash the piles of dishes by hand. This routine task suddenly becomes a moment of laughter and stories as the women mingle and bonds are reinforced…(The portrait) celebrates the African spirit of community as it turns humble sink strainers into bright circles of joy.

Shot against bold fabric backdrops printed with dizzying patterns, Muriu’s works conceal her subjects’ bodies under perfectly aligned garments, leaving only their heads and hands visible. The photographs are part of her ongoing CAMO series, which explores how culture both creates and consumes individual identities. Incorporating rich color palettes and traditional architectural hairstyles, Muriu celebrates her African heritage while questioning beauty standards and self-perception.

Some of the photographer’s portraits are on view this month at Photo London 2022 and at 1-54 Fair in New York. In July, she’ll have a solo show with 193 Gallery at the new Maison Kitsuné Gallery in New York, as well. You can explore the full CAMO series on her site and Instagram.

 

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

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Scientists Uncover a New Deep-Sea Crown Jellyfish Species with Dozens of Coiled Tentacles

Curled tentacles, soft spikes, and an unusually large, translucent bell distinguish a newly discovered species of jellyfish. The uncommon A. Reynoldsi became the subject of study for scientists at the Monterey Bay Aquarium Research Institute (previously) earlier this year when one of the deep-sea creatures was documented floating through the midnight zone. “Fifteen years ago, MBARI researchers spotted a large jelly that looked like Atolla but lacked the telltale trailing tentacle, and their curiosity was piqued,” MBARI says.

Bigger than most in the Atolla genus, this particular specimen measured 5.1 inches across with about 30 to 40 small, coiled tentacles that differ from other species’ singular, long appendages. The institute has only recorded about ten sightings of the A. Reynoldsi since 2006, a discovery researchers say “remind(s) us that we still know so little about the ocean, the largest living space on Earth.” (via PetaPixel)

 

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