Surreal Narratives Energize Karlotta Freier’s Vibrant Dreamlike Illustrations

All images © Karlotta Freier, shared with permission

Brooklyn-based illustrator Karlotta Freier accentuates aspects of the mundane into energetic, surreal compositions. Often working on commissions for larger editorial and advertising projects, she begins with a mood, narrative, or compelling fact that unwinds into vivid, dreamlike scenes with otherworldly elements. Scale and perspective figure largely in her illustrations, which sometimes position people alongside enormous flowers or animals or use landscapes to amplify the minuscule nature of humans in comparison to the vastness of the world.

Prints of Freier’s works are available from The Honey Pump, and you can find more of her personal projects and commissions for brands and publications like Hermès, The New Yorker, and The New York Times on Instagram.

 

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A New Apple Campaign Shines a Light on the Diverse Possibilities of Accessible Tech

In an empowering new ad from Apple, accessibility features of the brand’s products take center stage. Backed by an energizing soundtrack by Australian ensemble Spinifex Gum that puts famed boxer Muhammad Ali’s 1974 “I am the greatest” speech to music, scenes emphasize the features of phones, watches, and computers that allow people with physical disabilities to access myriad creative and life pursuits: a deaf mother is alerted to her child crying, a performer uses his camera to access the stage door, and a man makes various facial expressions to edit photos. Directed by Kim Gehring, “The Greatest” is a stunningly produced campaign that evinces the powers of greater access to technology for all.

 

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Vibrant Coral Expresses of the Power of Nature in Courtney Mattison’s Whirling Wall Relief

“Gyre I” (2022), glazed stoneware and porcelain, 75 x 75 x 11 inches. Photography by Daniel Jackson for Brandywine Museum of Art. All images © Courtney Mattison, shared with permission

In Courtney Mattison’s elaborate ceramic wall reliefs, the rich textures and hues of coral sweep elegantly across vast surfaces. Made of numerous individual pieces that she forms by hand, each composition references the fragility, diversity, and resilience of marine ecosystems, which she describes as an effort to “visualize climate change.” Currently on display at the Brandywine Museum of Art, “Gyre I” draws inspiration from forces of nature exemplified in the immense power of hurricanes and the delicate spirals of seashells or flower petals.

See “Gyre I” in Fragile Earth through January 8, 2023, and find more of Mattison’s work on her website and Instagram.

 

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In ‘It Is What It Is,’ Alfred Conteh Takes a Realistic Approach to Examining Life for Black Southerners

“Daishon” (2022), acrylic, atomized brass dust, and atomized steel dust on canvas, 120 x 84 inches. All images © Alfred Conteh, courtesy of Kavi Gupta, shared with permission

The urgency of Alfred Conteh’s portraits lies in the present. He portrays Black people he meets around Atlanta, creating monumental works that accentuate the material both physically and metaphorically, in their mediums and the critical analysis of current social conditions. “Black folks are not doing well in this country,” Conteh tells Colossal. “We will not do well until we come to terms with how this country was built, and the resulting racial wealth gaps and social decay. Nothing is being done to improve that, first and foremost economically.”

Layered with urethane plastic or steel and bronze dust, the works, which are on view at Kavi Gupta in Chicago as part of Conteh’s solo show It Is What It Is, are distressed with cracked surfaces and blotches of acrylic paint. Some stand ten feet tall, and the magnitude of their scale echoes that of the issues the artist is addressing. Conteh focuses on the gritty, harsh reality of the lives of Black people in the U.S., particularly as it relates to the historical policies and institutions that continue to affect the  economic, social, and cultural conditions of those he meets. “Stanton Road Water Boys,” for example, features three young men who were solicited drivers on an Atlanta road. “If there were opportunities for them to work, I doubt they would stand here trying to sell a two dollar bottle of warm water,” Conteh shares.

 

“Stanton Road Water Boys” (2022), acrylic and urethane plastic on canvas, 84 x 84 inches

As the title suggests, the exhibition exposes the overlooked or disregarded truths about life today, centering on current conditions rather than a hopeful view for the future. The myth of meritocracy is widespread, and Conteh rails against willful ignorance of privilege and power especially as it relates to wealth and access to opportunity. He explains:

Aspiration is a viewpoint that someone would have if they had the tools and the undergirding to be able to make an idea real, to make whatever they conceptualize a reality. That has not largely been available to African Americans as a whole, to aspire. Historically, legally, African Americans were enslaved, marginalized, segregated, red lined, ostracized, kept from wealth—the list goes on and on. So how can you honestly say “aspire to be something greater” when the policies and norms and mores of this country say no? It infantilizes people when we say things are gonna be alright.

It Is What It Is is on view through March 4, 2023. Find more from Conteh on Instagram.

 

Left: “Shampoo” (2022), acrylic and urethane plastic on canvas, 84 x 48 inches. Right: “IWB Shawty” (2022), acrylic, urethane plastic, and atomized steel dust on canvas, 84 x 48 inches

“Loretta (Ms. T)” (2022), acrylic and urethane plastic on canvas, 120 x 84 inches

Left: “Reesie” (2020), acrylic and urethane plastic on canvas, 48 x 36 x 3 inches. Right: “Reneé” (2020), acrylic and atomized steel dust on canvas, 48 x 36 x 3 inches

“Minnesota” (2022), acrylic and atomized steel dust on canvas, 25 x 25 inches

“Isiah (The Boxer, The Bouncer)” (2021), acrylic and atomized bronze dust on canvas, 60 x 60 inches

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Precise Geometry and Color Gradients Undulate in Anna Kruhelska’s Three-Dimensional Paper Sculptures

All images © Anna Kruhelska, shared with permission

In the meticulous folds of Anna Kuhelska’s paper sculptures, contrasts of light, shadow, and hue give the impression of undulating motion. An abiding interest in form, symmetry, and space developed from the Lodz-based artist’s work as an architect, combining precise engineering and design skills with and interest in geometry and origami. Reminiscent of the spatial explorations of Günther Oecker, humble materials form delicate patterns to create perception-bending, three-dimensional wall pieces.

Kruhelska’s earliest sculptures were constructed from white paper, which demonstrated how exact cuts and creases highlight the interplay between light and shade.  She then began to incorporate hued layers into the matrix-like surfaces. “I started mixing and combining contrasting colors to create an illusion of movement and to encourage viewers to view the work from different angles,” she tells Colossal. The works transform when they are viewed from various perspectives, revealing new colors and gradients.

You can see Kruhelska’s work in the Superspectra group exhibition at Laura Rathe Fine Art in Houston, which runs December 15, 2022, to January 12, 2023. You can find more of her work on her website and Instagram.

 

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Kengo Kuma Designs a Dramatically Vaulted Cafe to Evoke Japan’s Sloping Tottori Sand Dunes

All images ©︎ Kawasumi-Kobayashi Kenji Photograph Office

Overlooking Japan’s vast Tottori Sand Dunes is a new two-level structure that connects earth and atmosphere. Dubbed a “staircase to the sky,” Takahama Café is one of architect Kengo Kuma’s latest projects that reflects the surrounding environment. The dramatically vaulted building, which totals 199 square meters, is constructed with cross-laminated timber and reinforced concrete and features a balcony topped with a pergola for visitors to view the region. Sand from the dunes textures the Washi paper pendant lights inside, and in honor of local craftspeople and traditions, the studio tasked the Tottori Mingei pottery workshop Nakai-gama with creating the bathroom sinks, which are cloaked in its signature blue-black glaze.

For more from Kuma (previously) and his team, visit the studio’s site. (via designboom)

 

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Photographer Masayuki Oki Focuses a Humorous Lens on Japan’s Feline Residents

All images © Masayuki Oki, shared with permission

The archipelago of Japan consists of more than 6,800 islands, of which around 280 are inhabited, and in a few places, known as neko-shima or “cat islands,” felines vastly outnumber the human residents. Fishing villages like the one on Aoshima, the most well-known of around a dozen cat islands, introduced the creatures in the early 20th century to combat rodent infestations. Their prolific progeny, perched on walls and scampering underfoot, have been a continuous source of fascination for photographer Masayuki Oki.

For the past eight years, Oki has documented clowders of cats in his home city of Tokyo and on islands around the nation, focusing on the feral animals’ interactions. Viewed through a an anthropomorphic lens, the images capture playful pounces and awkward entanglements with humor and a knack for good timing.

You can follow Oki’s feline adventures on his blog and Instagram. He releases annual calendars featuring some of the year’s best photographs, and he also updates a YouTube channel with short videos of furball shenanigans.

 

 

 

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