Mystery Abounds in Lee Madgwick’s Uncanny Paintings of Derelict Buildings

“The Veil.” All images © Lee Madgwick, shared with permission

A sense of unease surrounds the buildings in Lee Madgwick’s paintings, their sides crumbling or coated in thick vegetation as they stand alone in fields or swamps. The neglected structures appear lifted from cities and towns and dropped directly into rural landscapes, where nature slowly envelops their brick facades or sprouts trees from their eaves. “I’m forever drawn to places of abandonment and isolation,” Madgwick tells Colossal. “I’m compelled to explore these enigmatic wonders. There’s a poignancy and an unwavering silence and fragility that hangs in the air.”

Containing only remnants of human life, the scenes prompt questions about the buildings’ origins and caretakers. Some pieces, like “The Veil,” depict a home long-deserted by inhabitants as thick vines cover the lower windows, while others like “Fen View” suggest that people remain, as a small window is neatly trimmed out of an overgrown hedge.

Working in what he terms “imagined realism,” the artist uses a mix of water-mixable oil and acrylic paints layered during the course of several weeks. “The skies are painted with the palms of my hands and fingertips. It’s the most expressive part of the process,” he shares. “Together with a brooding sky and concentrated light a sense of drama is formed and a narrative is set in motion.”

Madgwick has a solo show slated for October at Brian Sinfield Gallery in Burford, Oxfordshire. Until then, find his work on Instagram and shop limited-edition prints on his site. (via This Isn’t Happiness)

 

“Fen View”

“The Flood”

“Summer House”

“Gatehouse”

“Kingdom”

“Fragments”

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Spritely Animals Spring from Cubes of Wood in Yoshiaki Ito’s Series of ‘Morphits’

All images © Yoshiaki Ito

Slender pieces of beechwood connected by strings of elastic form a playful menagerie of toys by Brooklyn-based designer Yoshiaki Ito. Morphits begin as cubes, carefully packaged in a box, then expanded to reveal a stable of animals, which currently include a giraffe, monkey, pig, hippo, or a tiger. Bendable and posable, they can be displayed on a surface or puzzled back together into a compact form.

Find more of Ito’s work on his website, where he sells the toys in his shop in both color and natural options. You can also follow Ito and the monkey’s world travels on Instagram. (via designboom)

 

  

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In ‘Microcosmos,’ Roberto de la Torre Photographs the Elaborate Masked Characters of Northern Spain’s Entroidos

“Vellarron de Catrelo de Cima,” Galicia. All images © Roberto de la Torre, shared with permission

In Microcosmos, photographer Roberto de la Torre (previously) centers his lens on the celebratory costumes of the entroido. Held widely in his home region of Galicia around Lent and the shift from winter to spring, entroidos are annual gastronomic carnivals in which food and dance are plentiful. Elaborate costumes and masks are essential for participation, which de la Torre documents in the ongoing series.

Taken throughout northern Spain and Portugal, the photos capture the expressive, varied designs made with feather-like husks, vibrant tufts of synthetic materials, and animal horns. Each costume is unique and tied to a specific role in the celebration. “Some of them are difficult to portray because of their elusive character. Sometimes the people who wear them do not want them to become tourist symbols and lose their ritual character, so they do not like to be photographed,” he tells Colossal.

The demonic “Chocalheiro de Bemposta,” for example, has bulbous horns and a serpent-like creature on the shoulder and is from a small Portuguese village in Mogadouro called Bemposta. It emerges twice annually, making “an appearance the first day of the year and the day after Christmas in a very special ritual for its movement through the village, visiting people and bowing in the houses where some of its inhabitants have recently died,” he explains.

De la Torre is currently working on a parallel series to Microcosmos that considers ritual and divinity. View more of the costumes on the photographer’s Instagram, and find prints in his shop.

 

“Follateiro de Lobios,” Galicia

“Chocalheiro de Bemposta,” Portugal

“Felos de Esgos,” Galicia

“Boteiro de Vlana do Bolo,” Galicia

“Feo de Bande,” Galicia

“Pantalla de Pinzo de Limia,” Galicia

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A Bench by Akasaki Vanhuyse on the River Thames Buoyantly Nods to London’s Maritime History

All images © Akasaki Vanhuyse, shared with permission

Once the largest enclosed docks in the world, London’s Royal Docks span around 2.5 miles of waterway along the River Thames, encompassing about 250 acres. Today the home of numerous repurposed spaces and contemporary living developments, the area remains flush with industrial and maritime heritage, with historic architecture characterized by red brick. For design studio Akasaki Vanhuyse, founded by Japanese architect Kenta Akasaki and French designer Astrid Vanhuyse, Royal Albert Wharf provided the perfect platform for “FLOAT,” a curvaceous brick bench perched on the quayside.

Working with specialty brickmaker Mishelmersh, the designers tapped into the company’s deadstock, plucking 360 pieces that were expertly cut into 13 unit types with specific angles and dimensions so that they could be precisely puzzled together into the final shape. The shape of the seat nods to the recognizable ring shape of the life preservers dotting the river’s edge, and users can sit around the perimeter or sink into the middle as if in an inner tube. “By connecting the bench design to its immediate surroundings, we wanted to create a symbol for the town,” the studio says.

See more work on Akasaki Vanhuyse’s website and Instagram. (via designboom)

 

 

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From Dawn to Dusk and Back Again, Stephen Wilkes Pursues Natural Drama in Remarkably Detailed Panoramas

All images © Stephen Wilkes, courtesy of Taschen, shared with permission

Whether atop a 40-foot lift truck in the center of Paris, in a small house on a far-flung island, or perched beside a Serengeti watering hole, photographer Stephen Wilkes certainly has patience on his side. Sitting in one spot for hours on end, he sets up his camera to capture a single scene over the course of a full day or more, tracking the dramatic movement of weather and the sun over expansive landscapes. Day to Night, a forthcoming book published by Taschen, highlights 60 of the artist’s most compelling images, from U.S. National Parks to iconic international landmarks to remote wildernesses brimming with wildlife.

Wilkes carefully selects his location and takes more than 1,500 exposures from a fixed angle to follow the gradual changes in light and the bustling activity of humans and animals. To get the scene of visitors at the Grand Canyon just right, for example, he slept in a watchtower during a 36-hour shoot. “There was, of course, no artificial light, so I had to wait for the moon to light the canyon. I had only one hour of exposure to get this right,” he says. When he returns to the studio, he painstakingly filters all of the images into a single composition, producing pieces akin to distilled timelapses.

Day to Night will be released next month and features panoramas taken between 2009 and 2022, many with hidden stories that Wilkes describes throughout. You can pre-order a copy on Bookshop, and see more of his work on his website.

 

 

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Immense Biomorphic Sculptures Snake from Floor to Ceiling at Hamburger Bahnhof in Eva Fàbregas’ ‘Devouring Lovers’

All photos by Jacopo La Forgia, courtesy of Eva Fàbregas, National Museums in Berlin, and Hamburger Bahnhof–National Gallery of the Present

Bulbous, biomorphic sculptures in lavender, tangerine, and blush pink rove throughout the airy Hamburger Bahnhof in Berlin. The largest solo exhibition to date of Barcelona-born artist Eva Fàbregas, Devouring Lovers brings massive, bulging works to the industrial hall, juxtaposing the cold iron structures with soft, pudgy forms. Inviting in color and grotesque in shape, the organic, monstrous sculptures appear alive, as if they could grow and swallow up the remaining space, viewers and all.

In a recent interview, Fàbregas shares that the interactions between space and the body continually inform her thinking and how she conceptualizes a piece. “It’s about the architecture. It’s about those masses that you put inside the architecture. It’s about the humans moving around the architecture,” she says. “For me, my sculptures are not just themselves, it’s all the things that happen in the same space that affect that installation.”

Devouring Lovers is on view through January 14, 2024. You can find more from Fàbregas on Instagram.

 

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Delightful Wooden Nesting Dolls by Salakauppa Playfully Reimagine Traditional Designs

“The Bears (polar bear, brown bear, panda, moon bear, and Misha)” (2014), linden, paint, and lacquer, 210 x 120 millimeters. All designs by Aamu Song / COMPANY, produced in Semenov, Russia. Images © Salakauppa, shared with permission

A saltwater food chain, a collection of vegetables, and an acorn maturing through its development stages are just a few of Helsinki-based Salakauppa’s custom nesting dolls. The brainchild of Aamu Song and Johan Olin, Salakauppa—sala means “secret” and kauppa means “shop” in Finnish—was founded a little over 15 years ago to showcase the duo’s contemporary take on traditional matryoshkas. Using linden wood, which is soft and easily worked, each doll is designed by Song, then produced by expert craftspeople in Semenov, Russia, who meticulously turn the pieces on a lathe.

The decorative toys date back to the late 19th century when the first set was conceived by folk artist Sergey Malyutin with the assistance of a wood carver named Vasily Zvyozdochkin. The basic design consists of a set of pieces that decrease in size, fitting into one another, and traditionally depict a mother doll whose children, including a baby, fit inside. Song and Olin playfully reimagine the possibilities of matryoshka sets by portraying a diverse range of families, flora, and fauna, emphasizing the joy of discovery as each set is opened to reveal its inner dwellers.

Located for more than a decade in a kiosk in central Helsinki, Salakauppa just relocated to a new storefront, which they describe as a “home and temple” for their ongoing Secrets series. You can find more on the shop’s website. (via Present & Correct)

 

“Green Vegetables (cabbage, broccoli, artichoke, asparagus, cucumber, and green peas)” (2023), linden, paint, and lacquer, 120 x 180 millimeters

Salakauppa display. Photo by Paavo Lehtonen

“Sea Matryoshka (A whale eats a seal that eats a penguin that eats a fish that eats a calamari that eats a sea cucumber, and finally, there’s a plankton)” (2013), linden, paint, and lacquer, 250 x 120 millimeters

Onion matryoshka display in Salakauppa. Photo by Paavo Lehtonen

“Kärpässieni (A set of four nesting Fly Agaric mushrooms)” (2015), linden, paint, and lacquer, 140 x 160 millimeters

“Oaknut Matryoshka (Tiny green oak nuts become big brown ones, then squirrel is happy)” (2013), linden, paint, and lacquer, 120 x 100 millimeters

“Sauna Family (A peaceful löyly moment in the hot sauna)” (2022), linden, paint, and lacquer, 120 x 245 millimeters

“Apple Matryoshka (As apple flower falls like white rain in the late summer, tiny apple start to grow),” linden, paint, and lacquer, 120 x 110 millimeters

“Trees Lehmusto (Linden forest)” (2017), linden, paint, and lacquer, 260 x 150 millimeters

Aamu Song and Johan Olin in Sarakauppa. Photo by Paavo Lehtonen 

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