Tuesday, July 11, 2023

Weve Got It Made: Process X Goes Behind the Scenes to Demystify the Production of Our Favorite Objects and Tools

When we pull on a pair of denim jeans, hop in our cars, or fill up a bucket, our first thought probably isn’t, “Where did this come from?” We pluck clothing items from racks or off of hardware store shelves, but how in the world were they made? Japan-based project Process X (previously) goes behind the scenes of major manufacturing companies and specialty production studios to discover how simple materials are transformed into ubiquitous objects we rely on all of the time, from pencils to billiard cues to galvanized pails to manhole covers. The team also introduces practices with deep roots in Japanese culture, like the meticulous process of carving Noh masks.

See a few of our favorite videos here, and learn how numerous other things are made—or scrapped—on Process X’s YouTube channel.

 

A still from a short documentary about the making of colored pencils.

All images © Process X

A still from a short documentary about the making of chalk.

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 We’ve Got It Made: Process X Goes Behind the Scenes to Demystify the Production of Our Favorite Objects and Tools appeared first on Colossal.



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Artist Hilda Palafox Coaxes Emotional Depth from Bodily Contortions and Skewed Sizes

A small woman in the bottom right climbs a ladder with the top resting on a much larger woman's face

“Camino de vuelta” (2022), oil on linen, 47 6/25 × 35 43/100 × 49 inches framed. All images courtesy of Proyectos Monclova, © Hila Palafox, shared with permission

“A woman’s braid, for me, has a very powerful meaning,” says Hilda Palafox. “It symbolizes the fact of connecting, building, recognizing, changing, and strengthening. And I consider the act of braiding as something very intimate, very personal, and universal at the same time.”

Women convening, considering the size and shape of their forms, or engaging in solitary pursuits are common in Palafox’s works: one figure climbs a ladder sprouting new plant life, others precariously balance bowls on their limbs, and another bends over toward her toes, a table bound to her back with bright red rope.

Primarily working in oil paint on large-scale canvases, the Mexico City-based artist imagines a matriarchal world in which women are free to explore the inner reaches of their psyches and stronger together. Their long, substantial limbs, large hands, and supple curves are repositories for Palafox’s interests.  “I have always thought of the body as a vessel through which we experience the world and emotions and through which we express ourselves and manifest life,” she shares. “I seek to convey certain concerns that travel from a very personal place to a point of universal connection.”

Influenced by her background in graphic design, Palafox’s textured paintings are intuitive and created stroke by stroke, echoing the act of braiding hair strand by strand. “That is very important to me, and that is also why I like simple, clean compositions with some hints of symbolism, where the body language of these beings are the main character and where a door can also be opened for the viewer to finish building the narrative,” she says.

Palafox is represented by Proyectos Monclova, and you can find more of her works on both canvas and walls on Instagram.

 

Two women stand back to back their brads intertwining

“Aquí y ahora” (2022), oil on linen, 65.43 x 49.72 x 1.57 inches framed

A figure wearing an orange shirt climbs a ladder with small twigs sprouting from the rungs

“¿A dónde llegará?” (2022), oil on linen, 49.72 x 37.87 x 1.57 inches framed

A woman tips a bowl off her head on the left and on the right a woman precariously balances a bowl on her knee

Left: “Cuestión de tiempo II,” oil on linen, 47.24 x 39.37 inches. Right: “Cuestión de tiempo III,” oil on linen, 47.36 x 39.37 x .98 inches

A woman sits on a brown stool with her back to the viewer. She grasps her long braid with her right hand

“Portal II” (2022), oil on linen, 47 1/4 × 35 3/8 inches. Image courtesy of Hashimoto Contemporary

A woman wearing a white tank top and blue pants bends over toward her toes with a table bound by red cord to her back

“Quizas, un día” (2022), oil on linen, 65.55 x 49.8 x 1.77 inches framed

A woman is seated on the floor wearing a white shirt and blue pants and peering down at a tiny chair at the bottom right corner

“Un deseo más al fuego” (2022), oil on linen, 65.55 x 49.8 x 1.77 inches framed

A woman wearing orange pants and a white tank top crouches over her chair to grasp her shins. A small doorway is visible between her legs behind her

“En aquel breve momento” (2022), oil on linen, 64.96 x 49.21 x 1.61 inches framed

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 Artist Hilda Palafox Coaxes Emotional Depth from Bodily Contortions and Skewed Sizes appeared first on Colossal.



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Monday, July 10, 2023

Join Us for a Colossal Workshop on Crafting Paper Entomology Displays with Guardabosques

A paper entomology display of butterflies, moths, and beetles

All images © Guardabosques, shared with permission

We’re thrilled that artists Caro Silvero and Juan Elizalde of Guardabosques (previously) will be joining us this August for a papercraft workshop. The Buenos Aires-based pair will show students how to create the entomological display shown above using new templates designed specifically for Colossal. Grab your scissors and glue, and watch butterflies and beetles come to life during the 1.5-hour virtual session.

Register here, and if you’re a Colossal Member, be sure to use the code in your account for $10 off. Ten percent of proceeds from this workshop will be donated to the Center for Biological Diversity.

 

A detail shot of a paper entomology display of butterflies, moths, and beetles

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 Join Us for a Colossal Workshop on Crafting Paper Entomology Displays with Guardabosques appeared first on Colossal.



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In An Unflinching Look Benjamin Dimmitt Bears Witness to the Ecological Disaster of Floridas Wetlands

Dead palm leaves hang into the water in a black and white photo

“Dead palm in creek” (2021). All images © Benjamin Dimmitt, shared with permission

In one photo, dead palm leaves dangle from a desiccated trunk and skim the surface of a creek, making the crispy, lifeless fronds soggy with water. In another, a diptych highlights the same shoreline photographed 18 years apart, the latter sparse and sickly in comparison to its thriving predecessor.

Taken in stark black-and-white, these scenes are a few of many captured by Benjamin Dimmitt during the last three decades. They document the immense ecological changes of Chassahowitzka National Wildlife Refuge, approximately 70 miles north of Tampa on Florida’s Gulf Coast, and are now compiled in a forthcoming book that approaches the climate crisis with raw, unwavering honesty.

Slated for release in September from the University of Georgia Press, An Unflinching Look: Elegy for Wetlands highlights how the region has undergone dramatic changes since the 2010s when saltwater began to infiltrate sources of fresh water due to rising sea levels, over-pumping the underground aquifer, and general contamination of the area. “As the climate crisis worsens, my photographs show wetlands that are no longer an ecosystem in transition but now a ruin, a nearly barren, treeless salt marsh,” Dimmitt tells Colossal of his more than three-decade project bearing witness to this destruction. “The only plants thriving now are grasses, salt-loving mangroves, and the toxic algae that has flourished with the increase of phosphates and other fertilizers in the aquifer.”

 

Two black and white photos show the same shoreline with the top lush and thick and the bottom dry and desiccated

“View Downstream,” top (2004), bottom (2022)

Although he’s currently based in Asheville, Dimmitt is a Florida native, and his profound respect for the state’s ecosystems and desire to preserve its natural life is evident in his photos. While earlier images show broad swaths of land, today, he primarily focuses on what’s left of the salt-addled forests, zeroing in on the barren limbs and cracked, gnarled roots of downed trees. The images are poignant reminders of the life we’ve already lost due to the climate crisis and that, while much damage has already been done, there’s still more to save.

Pairing more than 90 photos with contributions from scientists and writers, the book is a broad-reaching examination of a damaged ecosystem. It also suggests that what’s happening in Florida is indicative of a much larger problem. “The coastal inundation at the Chassahowitzka is a bellwether for low-lying coasts everywhere,” Dimmitt says. “What I have photographed is happening all around the world. As our planet continues to become warmer, the glacial melting and rising seas will only worsen.”

An exhibition of An Unflinching Look will open the new Wild Space Gallery in St. Petersburg, Florida, for its inaugural show this October and also be on view at Asheville Art Museum in November. Dimmitt will be traveling the southeast U.S. for a book tour this fall, and you can find news about that on his site. Until then, An Unflinching Look: Elegy for Wetlands is available for pre-order.

 

Downed spindly trees lay in wetlands in a black and white photo

“Late Sun, Blue Run” (2020)

Two black and white photos show the same shoreline with the top lush and thick and the bottom dry and desiccated

“View Upstream,” top (2004), bottom (2022)

Downed trees and exposed roots hang into the water in a black and white photo

“Blue Ruin Still Life 2” (2020)

Downed trees and exposed roots hang into the water in a black and white photo

“Diagonal trees in creek” (2021)

Two black and white photos show the same shoreline with the top lush and thick and the bottom dry and desiccated

“Lower Crawford Creek,” top (1988), bottom (2014)

Downed trees and exposed roots hang into the water in a black and white photo on the cover a book saying an unflinching look elegy for wetlands benjamin dimmitt

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 In ‘An Unflinching Look,’ Benjamin Dimmitt Bears Witness to the Ecological Disaster of Florida’s Wetlands appeared first on Colossal.



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Friday, July 7, 2023

Get In the Activity Zone: Playfulness Abounds in a Multifunctional Park in Poland by SLAS Architects

An aerial view of a colorful, geometric playground and activity area in Poland.

Photos by Michał Kopaniszyn, © SLAS Architects

In Chorzów, Poland, a vibrant, multi-use public park highlights the possibilities of play. Designed by architecture firm SLAS, “Activity Zone” perforates a large concrete expanse with myriad shapes and structures, each with its own function. Playground and fitness equipment intersperse between tidy ball courts, seating, and green areas, including a number of large existing trees. To emphasize accessibility, the studio chose concrete as a primary material to ease navigation for wheelchair users and those with limited mobility.

“Activity Zone” comprises the first phase of an integration initiative between the University of Silesia and the city of Chorzów, redeveloping a former military site into a more welcoming space while building connections between the academic and local communities. Find more work by SLAS on Facebook. (via Kottke)

 

An aerial view of a colorful, geometric playground and activity area in Poland.  An aerial view of a colorful, geometric playground and activity area in Poland.

An aerial view of a colorful, geometric playground and activity area in Poland.

An aerial view of a colorful, geometric playground and activity area in Poland. An aerial view of a colorful, geometric playground and activity area in Poland.

An aerial view of a colorful, geometric playground and activity area in Poland.

An aerial view of a colorful, geometric playground and activity area in Poland.

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 Get In the Activity Zone: Playfulness Abounds in a Multifunctional Park in Poland by SLAS Architects appeared first on Colossal.



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AHHHHHH: Enjoy the Relatable Catharsis of Watching 100 People Scream As Loud As They Can

It turns out that watching people yell as loud as they’re able to is almost as cathartic for the viewer as it is for the screamer. The Cut recently filmed 100 folks as they shout with all their might, capturing an array of emotions as they let it all out. Jumping, laughing, and heavy sighs of relief ensue, along with insights into many of their lives and stressors, in what might be the most relatable video on the internet at the moment.

You also might enjoy this film documenting people as they contemplate a ten-meter dive and the work of Bob Ross’s screaming counterpart.

 

A woman screaming on a gray backdrop

A woman screaming on a gray backdrop

A man screaming on a gray backdrop

A woman screaming on a gray backdrop

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 AHHHHHH: Enjoy the Relatable Catharsis of Watching 100 People Scream As Loud As They Can appeared first on Colossal.



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A Granite Replica of a Bedroom Closet Honors Personal and Collective Memories in New York City AIDS Memorial Park

A granite sculpture in New York City AIDS Memorial Park of a bedroom closet by Jim Hodges.

“Craig’s closet” (2023), granite and bronze, 90 x 57 x 28 1/2 inches. Installed in New York City AIDS Memorial Park. Photos by Daniel Greer, © Jim Hodges, courtesy of the artist and Gladstone Gallery, shared with permission

In 1981, the emergency room at St. Vincent’s Hospital in Manhattan began to see an influx of young gay and bisexual men with startling weight loss, pneumonia, rare infections, and compromised immunity. Two years later, the HIV virus was identified as the cause of AIDS, which quickly reached epidemic proportions, and St. Vincent’s opened the first—and largest—AIDS ward on the East Coast.

In 2016, a public park became the home to the New York City AIDS Memorial, honoring the more than 100,000 residents who died of the disease, as well as those who lobbied for medical research and access to drugs and fought discrimination against the LGBTQ+ community. Marking a continuation of the memorial’s public art program, a new sculpture by Jim Hodges is both a heartfelt ode to a young New Yorker who succumbed to the illness and an invitation to consider complex histories and personal and collective memories.

“Craig’s closet,” a granite and bronze work that stands like a monolith in the middle of the park, considers the personal, metaphorical, and physical significance of the ubiquitous storage space. It is an exact replica of the bedroom closet belonging to musician Craig Ducote, who shared a home with Hodges until he passed away in 2016. T-shirts and jackets hang neatly next to a stack of drawers, a cane, various containers, and knick-knacks. While the piece references the artist’s personal relationship and memories, the simultaneous universality and specificity of a wardrobe, or objects accumulated over time, speaks to the shared experience of loss.

“Craigs closet” is on view through May 2024, and you can find more on Hodges’ website.

 

A detail of a granite sculpture in New York City AIDS Memorial Park of a bedroom closet by Jim Hodges.

A granite sculpture in New York City AIDS Memorial Park of a bedroom closet by Jim Hodges.

A detail of a granite sculpture in New York City AIDS Memorial Park of a bedroom closet by Jim Hodges.

A granite sculpture in New York City AIDS Memorial Park of a bedroom closet by Jim Hodges.

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 A Granite Replica of a Bedroom Closet Honors Personal and Collective Memories in New York City AIDS Memorial Park appeared first on Colossal.



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A Knotted Octopus Carved Directly into Two Pianos Entwines Maskull Lasserre’s New Musical Sculpture

“The Third Octave” (2023). All images © Maskull Lasserre, shared with permission Behind the hammers and pins of most upright pianos is a ...