Diverse Ecosystems Merge in Hyperrealistic Paintings of Flora and Fauna by Lisa Ericson

“High Tide” (2022), acrylic on panel. All images © Lisa Ericson, shared with permission

Ecosystems intermingle and mammals find themselves immersed in an increasingly watery world in Lisa Ericson’s hyperrealistic acrylic paintings. A hare and a mountain goat, which would typically be found in dry climates or high elevations, stand atop a small island of cacti or rock in an ongoing series of works that view the climate crisis—especially the impending rise of sea levels—through a lens of magical realism.

Drawing on the artistic legacy of chiaroscuro, or contrast between the bright figures and deep background, Ericson’s compositions appear as if a spotlight has been directed on the scene to highlight unusual interactions, such as a fox ferrying bluebirds across a waterway or a mountain goat stranded on a submerged rocky peak. Furthering the notion that environmental change cannot be ignored, the titles speak to witnessing immense change, experiencing a sense of foreboding, and heeding warnings.

You can see some of Ericson’s recent works on view at Antler Gallery in Portland, Oregon, through November 20, and find more on her website and Instagram.

 

“Risky Business” (2022), acrylic on panel

“Late Warning” (2022), acrylic on panel

“Ain’t No Mountain High Enough” (2022), acrylic on panel

“Shelter in Place” (2022), acrylic on panel

“Wake Me When It’s Over” (2020), acrylic on panel

“Treading Water” (2022), acrylic on panel

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Interview: Jessica Oreck of the Office of Collecting & Design On Her Enormous Museum of Miniatures

All images © Jessica Oreck, shared with permission

In Las Vegas, the Office of Collecting & Design is a haven for the minute, the small objects that have been broken, separated from their partners, or grown obsolete and somehow found their way into the hands of Jessica Oreck. Today, the museum of miniatures houses countless objects from handmade sushi smaller than a pushpin and a teeny-tiny tube of Colgate to stone marbles and limbs detached from toy figures.

I see each object as being stitched together with the fabric of both its creator and all its previous caretakers. I try to preserve that connection while still keeping the object accessible for new interactions, new connections, even if that means the physicality of the object may degrade. The collections aren’t frozen behind glass. They are very much still a part of a living, breathing existence.—Jessica Oreck

Oreck speaks in this interview about the origin of the ever-expanding collection of miniatures, how respect and intuition ground her approach to the objects, and the mysterious story behind one of the strangest items she’s encountered.

Read the interview and see the collection.

 

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More Than 500,000 Black LEGO Structure Ekow Nimako’s Vast Afrofuturistic Cityscapes

All images © Ekow Nimako, shared with permission

Through vast environments constructed with hundreds of thousands of black LEGO, Ghanaian-Canadian artist Ekow Nimako envisions an Afrofuturistic landscape brimming with strength, power, and liberation. Sprawling metropolises nest small buildings, regal towers, and fantastical details like the unhinged jaw of an enormous snake in their midst, structuring the architectural realms around legacies of myth and optimism.

Nimako’s current project, Building Black Civilizations: Journey of 2000 Ships, encapsulates this Afrofuturistic vision and invokes the mysterious story of Mansa Abu Bakr II, Mali’s ruler who’s said to have sailed from the coast of Africa in the 14th Century and never returned. The Atlantic voyage is one possible example of pre-Columbian contact and the founding narrative behind the artist’s latest sculptures.

Part of the ongoing Building Black series, this new collection comprises upwards of 500,000 sleek, black LEGO built into speculative cityscapes and figures. Nimako, who is currently based in Toronto, collaborated with studio assistants Janeesa Lewis-Nimako, Karen Osagie, and Keisha Agyemang to construct the utopian works, which are on view now at Dunlop Art Gallery, a community center in North East Scarborough.

Requiring more than 600 hours of build time, each topography contains an Adinkra, a symbol that traditionally represents an aphoristic concept. Nimako shares that the emblems “are meant to connect the successive medieval empires of Ghana, Mali, and Songhai across the centuries to the present, while providing a proverbial and moral centre for each sculptural narrative.”

Visit Dunlop Art Gallery before January 10, 2023, to see the incredible detail of Journey of 2000 Ships up close, and find more from Nimako on Instagram.

 

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A Five-Meter Magnifying Glass Uses the Sun’s Immense Power to Melt Metal

“The Solar Metal Smelter.” All images © Jelle Seegers, shared with permission

Anyone who spent time outside with a magnifying glass as a kid is aware of the instrument’s power to generate a staggering amount of heat and even start a fire when hit with sunlight. Designer Jelle Seegers harnesses that practice in a new project he presented as part of the Design Academy Eindhoven student show at this year’s Dutch Design Week.

“The Solar Metal Smelter” uses a square polycarbonate sheet that Seegers carved with circles to mimic the convex lens of a magnifying glass. Extending about five meters wide, the material is embedded in a frame made from upcycled stainless steel, with an attached hand crank that needs to be turned every ten minutes to keep the sun focused on the correct spot. Once heated, the smelter reaches up to 1,000 degrees Celsius and can liquefy zinc, aluminum, and other metals that are then poured into various sand molds. The designer estimates that the device generates about four kilowatts of energy.

In a conversation with Dezeen, Seegers shares that he produced the machine to reduce the reliance on electricity and to better utilize the sun’s power. He says:

Electrical solar panels, they never have an efficiency of more than about 20 percent. Only 20 percent of the sunlight gets converted into electricity, so we need a huge amount of solar panels to create a huge amount of electrical energy. But if you just take the sun’s heat, and you only bend it and direct it, you don’t need to do this complex conversion to electricity. And for that reason, you can achieve an efficiency of about 95 percent.

Seegers plans to scale up the project in the coming months and has been working on a variety of carbon-neutral machines, including the pedal-powered tool grinder shown below. For a similar solar-powered design, check out this sinter that uses sunlight and sand to make glass.

 

The lens of the machine

Seegers shaping the casts for molten metal to be poured into

Seegers using the pedal-powered tool grinder

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Designed for Leisure, Sarah Ross’ ‘Archisuits’ Question the Inhospitable Environments of American Cities

All images © Sarah Ross, shared with permission

Among American cities, Los Angeles has a reputation for being particularly car-centric, and it lacks the infrastructure for walkability or a robust public transit system. This choice of design is inherently political, as it makes commutes and travel across neighborhoods more inaccessible for people who don’t drive.

There’s also the fact that public spaces available to pedestrians generally aren’t constructed with comfort in mind, an issue Chicago-based artist Sarah Ross sought to remedy back in 2005 with the satirical Archisuits. Absurdly shaped, Ross’s four leisurewear pieces bulge with supports that perfectly fit into the negative space of benches, fences, and building facades. The designs draw a contrast between the soft, bendable wearables and the cold, rigid architecture, which the artist describes as “an arm of the law, a form that uses the built environment to police and control raced, classed, and gendered bodies.”

Nearly twenty years later, the project retains its original relevance and has gained new urgency as the climate crisis requires mass reduction in car use and an overhaul in how we collectively conceive of public areas. Ross shares with Colossal:

The same issues are happening where people are criminalized for being poor, black, brown, or disabled in public space. In many places around the globe, there is a turn to the right a monopoly of power is concentrated into the hands of the very few. We continue to live in siloed, segregated worlds.

Find more of the artist’s projects that consider how politics inform spaces on her site.

 

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Dyed and Rolled Pages Splay Outward into Flower-Like Forms in Cara Barer’s Book Sculptures

All images © Cara Barer, shared with permission

Artist Cara Barer curls and rolls the pages of books into sculptures that add colorful dimension to bound tomes. She dyes, shreds, and submerges vintage encyclopedias or instruction manuals in water to distort the typically compact publications. With cracked spins and crinkled pages, the manipulated objects reference the relationship between the natural and human-made as they evoke flowers at peak bloom. For more of Barer’s contorted works, visit her site and Instagram.

 

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The 2022 Landscape Photographer of the Year Contest Captures Stunning Environments Around the U.K.

“The Sacred Garden,” Gray Eaton. All images @ the artists, courtesy of the Landscape Photographer of the Year, shared with permission

From hazy lochs and grand mountainous vistas to water-side pedestrian paths, the 2022 Landscape Photographer of the Year contest highlights the vast splendor of Britain’s environments. Winners of this year’s competition encompass both the natural and human-made, showcasing a steam-engulfed train roaring across the Fellowman Crosses Ribblehead viaduct or a glimmering celestial sky above the limestone arch of Durdle Door.

The contest joins Network Rail for a traveling exhibition that will migrate across the U.K., starting with Paddington Station on October 31. Peruse the winning images on the competition’s site and by picking up a copy of this year’s book.

 

“The Fellsman Crosses Ribblehead Viaduct,” Matthew James Turner

“Durdle Door Night Lights,” Callum White

“Brecon in Winter,” Will Davies, overall winner

“Rough and Tumble,” Lloyd Lane

“Dirgelwch Penmon / Myster,” Llion Griffiths

“Regency Wharf,” Damien Walmsley

“Wild Elgol,” Fiona Campbell

“Ascension,” Demi Oral

“Gannets Overhead,” Thomas Easterbrook

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article The 2022 Landscape Photographer of the Year Contest Captures Stunning Environments Around the U.K. appeared first on Colossal.

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