Ceramic Tiles Overlay an Infinity-Shaped Roof at a Bamboo Pavilion in Sichuan Province

All images © Archi-Union Architects

Daoming Town in Sichuan Province, China, is known for its bamboo weaving traditions. “The practice,” says Archi-Union Architects, “is more than a rural industry. It is an integral part of the way families in the town spend time together and how neighbors visit with each another.”

One of the firm’s projects titled “In Bamboo” is an homage to this rich local custom. Constructed in just 52 days back in 2018, the multi-use pavilion stretches 1,800 square meters and contains space for exhibitions, gatherings, and dining. The steel and wood structure supports a twisting, infinity-shaped roof of small ceramic tiles, which slopes down near a reflective pool at the center of the building.

Evoking the brushstroke of a traditional Chinese landscape painting and situated amongst a bamboo forest, the Mobius-style design is meant to capture the relationships between interior and exterior and heritage and innovation. “The new definition offered for traditional paradigms and the rethinking of rural and urban issues provide a lens for thinking about the meaning of architecture in the present time,” said lead architect Philip F. Yuan.

Find more photos of “In Bamboo,” in addition to an archive of Archi-Union’s projects, on its site.

 

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Vivid Spectrums of Color Radiate from Chris Wood’s Intricate Installations of Dichroic Glass

Commission for Clé de Peau Beauté

“Light,” says Chris Wood, “is the purest form of radiance.” The Cambridgeshire-based artist is known for her dazzling installations made of dichroic glass—this transparent material produces a shifting spectrum of color depending on the viewpoint—that emit phenomenal prisms illuminated. Often arranged on a panel or wall, the works evoke organic patterns, like helices, murmurations, and in the case of Wood’s most recent piece, the spiral of a nautilus shell.

A commission from the beauty brand Clé de Peau Beauté in celebration of its 40th anniversary, this new rainbow-like installation revolves around that milestone. “There are 40 spirals, each with 40 dichroic elements to them. Embedded within each spiral is the number 40, written in binary code. The dichroic pieces will project 40 millimeters from the surface of the artwork. The outermost circle measures 1,600 millimeters in diameter—the square root of which is 40,” Wood (previously) says.

This incredibly intricate design also references the earth, moon, and sun through the three more prominent rings and expands on the intrinsic connection between the mathematical and natural. She explains:

I see this artwork as an interpretation of how radiance, much like ideas and discoveries, start from one central point and expand outwards… The whole design is built around Fibonacci’s golden ratio, which we see in natural forms from flowers to animal pattern. I was initially inspired by the nautilus shell. It is a wonderful representation of Fibonacci’s spiral. The form of the shell is structured to provide strength and protection, and the shell itself is iridescent. We find in this a representation of how radiance can be embodied within us, as projected to those around us.

Wood currently has a few smaller pieces available in her shop, and you can explore an archive of her works on her site and Instagram.

 

Detail of commission for Clé de Peau Beauté

Detail of commission for Clé de Peau Beauté

“Ahlia”

Detail of commission for Clé de Peau Beauté

“Murmuration” (2019)

Detail of “Murmuration” (2019)

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Vegetation and Hybrid Figures Entwine in Winnie Truong’s Mythical Collaged Drawings

“Mothercraft” (2022), drawing and cut paper collage on panel, 20 x 16 inches. All images © Winnie Truong, courtesy of VIVIANEART, shared with permission

Canadian artist Winnie Truong recontextualizes the sleek, piecey qualities of human hair in her cut-paper collages. Constructed in layers within rectangular frames, the surreal works utilize the soft texture to depict flowers, vegetation, and strange anthropomorphic figures with elongated fingers and faces obscured by body parts or surroundings. Each piece is rooted in Truong’s drawing practice, and the colored pencil renderings add depth to the mythical compositions.

An extension of her two-dimensional works, these dioramas similarly explore the connection between women and nature. Many of the hybrid figures are entangled with foliage and their own anatomies, positioning traditional understandings of beauty alongside disorienting and more fantastic forms.

Visit Truong’s Instagram for more of her recent works and a glimpse into her process.

 

“Yellow Wallpaper and Scarlet Vipers” (2021), drawing and cut paper collage on panel, 20 x 16 inches

“Lilies in the Bog” (2021), drawing and cut paper collage on panel, 20 x 16 inches

“Twin Letdown” (2021), drawing and cut paper collage on panel, 24 x 18 inches

“Eyes at Dusk” (2022), drawing and cut paper collage on panel, 24 x 20 inches

“Distal Edges” (2021), drawing and cut paper collage on panel

“Gentle Snares” (2021), drawing and cut paper collage on panel, 20 x 16 inches

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Vintage Typewriters Are Reassembled into Amazing Metallic Bird Sculptures by Jeremy Mayer

All images © Jeremy Mayer, shared with permission

Jeremy Mayer challenges the notion that typewriters’ creative output is confined to the written word. The artist scours shops and trash bins near his Bay Area studio for analog processors in disrepair that he then disassembles, sorts, and reconstructs into metallic sculptures. His previous works include symmetrical assemblages, anatomical recreations, and an ongoing series of birds, the most recent of which are shown here. Mayer builds every piece solely from original parts rather than soldering or gluing, and some sculptures, including the black crow with a Corona-brand typewriter logo on its back, feature spring-like components that allow the creatures to bob their heads.

Mayer is currently at work on a few large-scale reliefs, a kinetic lotus, skull, and additional birds, and you can follow updates and news about purchasing pieces on his Instagram. For more about his practice, check out the 2016 film California Typewriter, which documents his work alongside other enthusiasts.

 

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In ‘Seed Stories,’ Photographer Thierry Ardouin Unveils the Stunning Diversity of Plants

Proteaceae, Banksia grandis Willd., bull banksia. All images © Thierry Ardouin/Tendance Floue/MNHN, shared with permission

The basis of life for many species, seeds hold immense power for reproduction and population. Whether a descendent of the first specimens that appeared approximately 400 million years ago or a modern hybrid cultivated to increase food production, the generative forms are often visually striking in their own right with otherworldly colors, textures, and shapes.

Photographer Thierry Ardouin showcases these marvelous, strange qualities through hundreds of striking macro shots now compiled in a forthcoming book and exhibition. Positioned against stark black or white backdrops, the specimens are primarily derived from the carpological archives of the National Museum of Natural History in Paris, although some come from the International Agricultural Research Centre for Development and the Straw Cereal Biological Resource Centre. This wide-ranging collection includes the veiny, coiled moon trefoil, snake-like scorpion vetch, and small-bur marigold with its prickly body and horns.

The idea for the project germinated more than a decade ago when Ardouin was working on a documentary about French agriculture and discovered that large corporations own the patents to many seed varieties. He explains:

In 2009, in a very particular political context regarding undocumented immigrants, I noticed that there were ‘legal’ and ‘illegal’ seeds. The question arose : does a “legal” seed look like an “illegal” seed? But seeds are tiny and, to see them, I had to get close to them and make portraits of them, as I would do for human beings.

He’s documented approximately 500 specimens since, half of which appear in the pages of Seed Stories to be released this month from Atelier EXB. Spanning 336 pages, the volume is a testament to the incredible diversity and resilience of the natural world. Many of the photos are also included in a group exhibition opening on June 18 at the CentQuatre Paris, which will pair the images with seeds from the National Museum of Natural History collection that visitors can touch and even taste.

Find more of Ardouin’s works on his site, and follow his latest projects on Instagram.

 

Clematis delavayi Franch. Ranunculaceae. Clématite

Fabaceae, Hippocrepis scorpioides Benth., Scorpion vetch

Medicago scutellata (L.) Mill. Fabaceae. Luzerne à ècussons.

Asteraceae, Bidens frondosa L., small-bur marigold

Hedysarum glomeratum F. Dietr. Fabaceae. Sainfoin à têtes

Fabaceae, Medicago arborea L., Moon trefoil

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Luxuriant Tufted Portraits by Artist Simone Saunders Exude Black Joy

“Excellence” (2021), hand-tufted velvet, acrylic, and wool yarn on rug warp, 152.4 x 152.4 x 1.5 centimeters. All images © Simone Saunders, shared with permission

Simone Saunders’ love-based practice adds its own texture to the magic of Black joy and resilience. On Instagram, she writes:

I celebrate the wins. I know the darkness in this world, so do you. It can drag us down. And when I post, positive messaging is key for me. To share light and love and to look at the world as vibrant and colourful as it can be….It’s reflected in my textiles, to uplift narratives often tethered to dark undertones, with the gift of bright hues. I’m not asking anyone to “smile”, because life will hurt. But hold onto your light… keep grasp of your love.

For Saunders (previously), celebrating love is not grand, abstract, or impossible to grasp. It’s as honest as a single strand of thread. Close-ups of her textiles, rug-tufting, and punch-needle works reveal what it means to paint with fabric—that is, to embrace the fluidity of color and create intricacy in its different shades, not taking the versatility or collective power of the individual pieces for granted. The artist’s attention to detail adds depth, dynamism, and life to each scene so that the subjects are captured in their full essence.

 

Left: “Queen of Spades.” Right: “Queen of Diamonds”

In The Four Queens, Saunders draws on the tradition of Art Nouveau, a period of art history specifically concerned with capturing feminine beauty and radiance. Though the artist felt an attraction to the 18th-century tradition, she couldn’t form a genuine bond with the material because of its severe underrepresentation. The heart of these whimsical scenes, the epitome of angelic beauty, was often a white face. And so, Saunders set out to create her own style: Black Nouveau.

In this approach, the essence of beauty is “Black Dreams,” “Black Power,” “Black Love,” and “Black Magic.” Powerful prints that paint the skies of each scene are reminiscent of African motifs in which stories are told through patterns and color. Saunders keeps true to her roots here and offers a connection in a genre that’s typically been limited.

Works like “Excellence” show that the gaze is the point of entry and also the home of Black liberation; where it is nurtured, where it grows, and where we are known. Whether it’s the kind expression of the “Queen of Diamonds” slouching loosely on her throne or the peering side-eye of the “Queen of Hearts,” Saunder’s works emanate the femininity, leadership, power, and joy of Black womanhood.

 

The Four Queens at Contemporary Calgary (2022)

Left: Detail of “Queen of Hearts.” Right: Detail of “Queen of Diamonds”

“Queen of Clubs”

Detail of “Queen of Spades”

“Queen of Hearts”

Detail of “Queen of Clubs”

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Interview: Heidi Gustafson Recounts Establishing an Archive Preserving Hundreds of Humanity’s Oldest Art Materials

All images © Heidi Gustafson, Early Futures, shared with permission

The word ochre tends to be associated with the warm brownish-yellow color, although it also refers to the physical substance that once removed from the earth, crushed, and combined with liquid, becomes paint. In a new interview supported by Colossal Members, we speak to forager, artist, and researcher Heidi Gustafson, who established the Early Futures Ochre Sanctuary in 2017 and has since amassed hundreds of samples of these pigments.

When you get into the nature of color (akin to tracing food from farm to table), you start to realize color symbolism has a lot of direct, solid foundations in geomorphology. Red that feels “intense or energizing” is often made of 500 million-year-old ancient volcano spew. Yellow that is “sunny” might be ochre made by spring sunlight interacting with microbes to create fresh iron hydroxide. Blue that feels “mournful or spiritual” could be made from vivianite (iron phosphate) forming in dead bodies.

In this conversation, Gustafson speaks about Early Futures, its evolution, and what it’s meant to work with a substance with such a rich and lengthy history. She discusses the multi-sensory and sometimes uncanny nature of her process, the threat the climate crisis poses to the earth’s stores, and how ochre’s legacy reaches far beyond its alluring color.

 

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