Who Are You Calling Peanut Brain? A Series of Quirky Dolls Imbues Snacks with Enigmatic Personalities

All images © Yulia, shared with permission

In her ongoing series of delightful fabric dolls, Ukrainian artist Yulia reimagines meals and snacks with playful personalities. Often conceived as families or groups united by a common theme like vegetables, tea bags, or breakfast items, her friendly figures don patterned apparel in a variety of colorful fabrics. Whether their heads are shaped like macaroni, ginger root, or bacon, all of the artist’s characters share beady, wide-set eyes and enigmatically sweet smiles.

Yulia occasionally releases new editions in her Etsy shop, and you can follow updates on Instagram.

 

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A Book and New Documentary Explore the Possibilities of Ink-Making in Urban Environments

All photos by Lauren Kolyn, courtesy of Jason Logan, shared with permission

Jason Logan’s entry into ink-making started with a black walnut tree he encountered while biking through a local Toronto park. After gathering the fallen seeds and bringing them home, he boiled the green nuts until they produced a rich brown pigment. Now nearly ten years ago, this moment became the catalyst for what’s grown into an expansive network of projects exploring the possibilities of color and foraging in the most unlikely spaces.

Logan founded The Toronto Ink Company in 2014 and began to create pigments from materials gathered around the Canadian city, including the aforementioned black walnut but also street detritus like cigarette butts, soot, and rust. The idea was to create more environmentally conscious products and extend foraging into urban environments. “You start seeking out hopeful green spaces under a highway overpass or in a back alley,” Logan said in an interview. “A rusty nail becomes a possible ink or a penny with greenish oxidation on it.”

These discoveries led to Make Ink, his 2018 guidebook for scavenging with recipes and tips on creating pigments at home. Organized by color, the 192-page volume encompasses history and science and focuses on the alchemy behind his work. The book is also the predecessor to the artist’s latest project, a feature-length documentary that delves into his harvesting and production process.

Currently screening in Canada, The Colour of Ink follows Logan as he gathers organic and human-made substances and transforms them into usable goods. Featuring artists and writers like Margaret Atwood, Kōji Kakinuma, and Heidi Gustafson (previously), the film highlights the connection to the earth and emphasizes the lively qualities of the material. “The ink I make is unpredictable. It’s fugitive. It’s on the run,” Logan says in the trailer.” “What I’m hoping to do is draw people’s attention to minute differences.”

Pick up a copy of Make Ink on Bookshop, and follow Logan on Instagram for updates on additional documentary screenings, which are likely to happen in Tel Aviv, Hong Kong, and throughout the U.S. in the coming months.

 

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Aerial Photographs by Kevin Krautgartner Capture the Magnificent Power of Crashing Waves Above Hawaii’s Banzai Pipeline

All images © Kevin Krautgartner, shared with permission

Nothing puts the enormous power of nature into perspective quite like the energy of our planet’s oceans. On a reef off of the North Short of O’ahu, Hawaii, some of the world’s most famously thrilling and dangerous waves present enticing conditions for surfing in an area known as the Banzai Pipeline. Photographer Kevin Krautgartner celebrates the mesmerizing, barrel-shaped breakers in Pipeline, a series of aerial images highlighting the formidable force of water crashing and whorling along the shore.

“Personally, waves always get my attention when I’m close to a coastline or the ocean,” Krautgartner says. “For me, they are especially unique because they are a natural phenomenon that can create a sense of awe and wonder… creating a rhythmic pattern that can be both soothing and exhilarating.” Going beyond documentation, he focuses on details like structure and form, examining the elemental interactions between light, water, and air. Taken from an aerial perspective and devoid of figures or landmarks for scale, he emphasizes how no two moments are the same: “Since nature is in a constant state of change, be it short or long term, each of my works captures a moment that will never happen again.”

Krautgartner recently released Water.Color, a book featuring his aerial photographs of surreal, watery landscapes. Find more of his work on his website, Behance, and on Instagram.

 

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Through Wasp Nest Sculptures and Encaustic Drawings, Valerie Hammond Preserves the Ephemeral

“Alexandra” (2022). All images © Valerie Hammond, shared with permission

Nature is replete with layering, as seen in the soft tissues of a flower’s petal, the cellular makeup of human skin, or the paper-thin walls of insect nests. Although delicate themselves, these layers offer protection from the more fragile insides and are subsequently prone to change, often through natural decay and exposure to the elements. Valerie Hammond (previously) is drawn to these fleeting moments of life and their inevitable transformation, which she explores through an artistic practice centered around preservation and its limits.

Now based in the Hudson Valley after decades in the East Village, Hammond has spent nearly twenty years considering how quickly an existence can emerge and perish, a theme that emerged during the AIDS crisis in the U.S. Her practice is largely focused on the corporeal and the inherent ephemerality of the human body, which she merges with botanicals in her ongoing series of encaustic drawings.

Using her own limbs and those of her children, friends, and family, Hammond traces outstretched hands and layers the translucent renderings with fresh flowers, pencil markings, wax, and other materials. She portrays the similarities between the vascular and skeletal systems and the structure of ferns and other botanicals, and many works are scaled to the actual size of the human body, preserving the dimensions of a child’s wrist or woman’s fingers as they were in a particular moment. As the series evolves and grows, the pieces offer insight into “how we experience nature and the many ways we might allow it to change us, and the various skins and outer shells that we shed in order to transition to new, and possibly more whole, selves.”

 

Detail of “Daphne” (2023), wasp nest, paper, and glass, 12½ x 13 x 11 x 2 x 68 inches

For a recent exhibition at Planthouse, Hammond debuted a new sculpture titled “Laurel” that features a pair of feet with spindly branches emerging mid-calf. Mirroring the encaustic drawings, the work joins a larger collection of anatomical forms and busts made from wasp nests layered with Japanese paper on an armature that again references the impermanent. The natural material “spoke to what I was really looking for in the sculptures,” Hammond shares. “In the last few years, I’ve been thinking about the chimera…about inserting myself in nature, and that’s what I’ve been thinking about in these sculptures, as a way of being a part of nature in this physical, metaphysical, and metaphorical sense.”

Hammond’s work is included in a group show on view through May 23 at Gallery de Sol in Taipei City, and she has a show opening that same month at September Gallery in Kinderhook, New York. To explore a larger archive of her two- and three-dimensional pieces, visit her site and Instagram.

 

Detail of “Alexandra” (2022)

Detail of “Alexandra” (2022)

“Traces” (Kiki)” (2008), pigment, color pencil, graphite, wax, glass beads, and thread on paper, 21 x 17 inches

“Wildwood Threads”

Detail of “Wildwood Threads”

“Wildwood Threads”

“Laurel” (2023), wasp nest, paper, and glass, 30 x 25 x 65 inches

“Daphne” (2023), wasp nest, paper, and glass, 12½ x 13 x 11 x 2 x 68 inches

Detail of “Laurel” (2023), wasp nest, paper, and glass, 30 x 25 x 65 inches

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Bewildering Reflections and Perspectives Shift in the Hyperrealistic Oil Paintings of Nathan Walsh

“Delmonico’s” (2021), oil on linen, 87 x 90 centimeters. All images © Nathan Walsh, shared with permission

In his intricate oil paintings, Nathan Walsh captures the textural sheen of rain on city streets and luminescent reflections in cafe windows. The artist has previously explored different vantage points in elaborate cityscapes, rendering the corners of buildings, corridors of skyscrapers, and expansive bridges in detailed, two-point perspective. Recently, he has further honed ideas around perception and the way the built environment presents uncanny optical illusions in the interplay of people and objects, light, and reflections.

The ideas for Walsh’s compositions often form as he wanders the streets of cities like New York and Paris, making sketches and taking photographs that he brings back to his studio, a converted Welsh Methodist chapel. “Up until last year, my work had been exclusively devoted to the urban landscape,” he tells Colossal, sharing that various objects like those spotted in an antique shop window in Paris’s 7th arrondissement signaled new references to his ideas around place and familiarity. He says:

I would travel, collect information, then return to my studio to respond to that material. “Metaphores” started in the same way: a trip to Paris, wandering aimlessly around the streets looking for ideas. On my return to the U.K., I realised a lot of the photographs and drawings I’d made were touching on similar subject matter to [my] home environment.

Pieces like “Metaphores” or “Rue de Saints” represent a shift in Walsh’s understanding of the urban landscape or more concisely, of how it is experienced. Elaborate window reflections warp our sense of space and fuse realism with imagination, such as in “Monarchs Drift,” in which the artist has spliced together scenes of New York City and San Francisco. Walsh imbues the works with what he describes as a “hallucinatory quality which is ‘neither here nor there,'” embracing notions of transition, global connections, and his own memories of trips he has taken.

Walsh’s paintings will be featured in a forthcoming book published by Thames & Hudson dedicated to urban landscapes, and you can find more of his work on his website and Instagram.

 

“Rue des Saints” (2022), oil on linen, 129 x 123 centimeters

Underpainting for “Rue des Saints”

“Monarchs Drift” (2022), oil on linen, 121 x 153 centimeters

“View from the Highline” (2020), oil on linen, 60 x 90 centimeters

“Metaphores” (2023), oil on linen, 122 x 158 centimeters

Underpainting for “Metaphores”

“Twilight” (2020), oil on linen, 60 x 70 centimeters

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Yellow Halos Laud People of the African Diaspora in Akindele John’s Vibrant Portraits

All images © Akindele John, shared with permission

Nigerian artist Akindele John harbors a profound respect for people of the African Diaspora, which he exemplifies in his vivid, celebratory portraiture. Working in oil on canvas, the artist centers on figures who offer insight into diasporic lineages, as he intertwines historic elements with that of the present day. “My subjects are based on African old ways,” he tells Colossal. “They are real people that tell a story about the African diaspora.”

Often overlaid with ornate botanical motifs or embedded with patterns, the portraits are vibrant and regal and tend to portray figures in moments of contemplation. Yellow halos encircle their faces, elevating each to a position of spiritual wisdom and regard. John shares that he’s drawn to the contrasts within compositions and contemporary interpretations of chiaroscuro, particularly the work of photographer Maria Presser.

The artist is represented by Genre: Urban Arts and frequently shares glimpses into his process and studio on Instagram.

 

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Entwined Ceramic Sculptures by Claire Lindner Sprout like Roots and Plants

“Enchevetrement vertical” (2022), 120 x 100 centimeters. All images © Claire Lindner, shared with permission

Although fixed in glazed and fired ceramic, Claire Lindner’s voluptuous sculptures are primed for movement as they appear to crawl along walls or sprout upward like the leaves of a plant. Mimicking the spongy texture of living specimens like fungi, sea moss, and roots, the works embody several dualities from hard and soft to stasis and growth. The lively pieces also reference the relationship between biological processes and human intervention, as the artist (previously) sculpts organic forms and covers them with unnaturally bold gradients.

Lindner, who’s based in the countryside in Montpellier, has one work in Within + Without on view through April 6 at Unit London and will be included in the LOEWE Foundation group show scheduled for May at the Noguchi Museum in New York. She’s also in the midst of a residency with the European Institute of Ceramic Art, which will result in an exhibition slated for June at the Théodore Deck Museum. Keep up with the artist’s latest projects and chances to see the works in person on her site and Instagram.

 

“Red and blue untanglement n°3” (2022), 48 x 38 x 10 centimeters

Detail of “Enchevetrement vertical” (2022), 120 x 100 centimeters

“Waltx n°1” (2022), glazed stoneware, 39 x 36 x 32 centimeters

“Enchevetrement vertical n°2” (2022), 120 x 65 centimeters

“Red and blue untangled silhouette n°1” (2023), glazed stoneware, 116 x 46 x 13 centimeters

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 Entwined Ceramic Sculptures by Claire Lindner Sprout like Roots and Plants appeared first on Colossal.

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