In Bursting Bonsai Sculptures, Patrick Bergsma Taps Into Nature and the Deep-Rooted History of Porcelain

“Royal White Pine” (2023). All images © Patrick Bergsma, shared with permission

Resisting the confines of porcelain vases, Dutch artist Patrick Bergsma’s vibrant bonsai sculptures illustrate the strength and resiliency of nature. Flowering branches, gnarled roots, and lush mosses rupture from shards of found pottery, capturing moments of transformation and growth.

Raised in a family of antique dealers, Bergsma was surrounded by art and historical objects, and as he developed his own practice, he was drawn to the collectibles that filled his parents’ shop and home. In his ongoing Expanding China Series,the artist references the rich, global history of porcelain.

“What we call typically Dutch, like Delft blue, was originally an attempt to imitate the very popular porcelain imported from China and Japan,” Bergsma says. “In this series, I often use these 17th-century ‘imitations’ combined with the natural elements like bonsai and ikebana.” The compositions also nod to the Japanese practice of kintsugi, replacing the metallic, mended pottery seams with dense mosses and clinging roots.

Bergsma initially used real bonsai trees that were either diseased or dead, incorporating them into broken vessels. Conscious of the possibility of reviving the diseased specimens, he began recreating lifelike versions using coconut fiber, polymers, kaolin, and quartz. A growing collection of bonsai trees in his studio garden provides a reference for choosing the right colors and materials for convincing replications.

Explore more on Bergsma’s website, and follow Instagram for updates.

 

“Abandoned Vase”

“Cracking Tulip Vase” (2020)

Left: “Falling Branch” (2022). Right: “Intertwined” (2020)

“Apple Blossom” (2021)

“Arita” (2022)

“Imari Blossom” (2023)

“Makkum Blues” (2023)

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A Major Exhibition Materializes Surrealist Artist Remedios Varo’s Alchemical Visions

“Creación de las aves (Creation of the Birds)” (1957), Museo de Arte Moderno, INBAL/Secretaría de Cultura. Photo by Rodrigo Chapa. All images © 2023 Remedios Varo, Artists Rights Society (ARS), New York / VEGAP, Madrid, courtesy of the Art Institute of Chicago, shared with permission

Alchemy and the depths of the occult manifest within Remedios Varo’s practice. The Spanish surrealist (1908-1963), whose works are on view at the Art Institute of Chicago, was a researcher at heart with a vast, insatiable curiosity for discovering the unseen and underrecognized. Interested in scientific disciplines like astronomy and ecology along with psychology, tarot, and feminism, Varo was intent on expanding the limits of human perception. “I deliberately set out to make a mystical work, in the sense of revealing a mystery, or better, of expressing it through ways that do not always correspond to the logical order, but to an intuitive, divinatory, and irrational order,” she’s quoted as saying.

Born María de los Remedios Alicia y Rodriga Varo y Uranga in Catalonia, the artist was a natural polymath, having taken a childhood interest in her father’s work as a hydraulic engineer while reading the sci-fi novels of French author Jules Verne. Her early experiences and desire to learn informed what became her artistic practice and ushered her entrance into Surrealism. After a few years of living and working in Paris, Varo, like many of her contemporaries, fled Europe before World War II and relocated to Mexico City, where she lived until she had a heart attack and died at age 54.

 

“Armonía (Harmony)” (1956)

In Science Fictions, more than 60 of Varo’s paintings, sketches, and sculptures are on view at a U.S. museum for the first time in 23 years. The enchanting works evidence the artist’s esoteric affinities and are rife with unexpected magic. “Creation of the Birds,” for example, centers on a hybrid, owl-like character who appears to paint winged creatures that are brought to life by a stellar beam. Similarly, “Useless Science, or The Alchemist,” depicts a cloaked figure turning a crank that powers a towering apparatus of gears and pulleys, producing a pale green liquid at the base.

While Varo’s subject matter is often rooted in experimentation and discovery, so was her physical making process. She tended to produce cartoons, or full-scale preparatory drawings, that she would transfer to a panel or canvas. These renderings offered structural support to her more capricious techniques like blotting, scraping, and decalcomania, which involves pressing a painted material against another surface so that both are temporarily joined by a layer of wet paint. This creates organic, biomorphic planes when pulled apart. The vast quantity of textures adds to the cosmic, enchanting qualities of Varo’s works, which she produced layer by layer, sometimes embedding natural materials like mother-of-pearl within the compositions.

 

“Simpatía (La rabia del gato) (Sympathia)” (1955)

Although lesser known in the U.S., the artist is well-established in Latin America. Varo is part of a trio of artists dubbed “the three witches,” along with Leonora Carrington and photographer Kati Horna, and was active in Surrealist circles in Mexico. “Varo has been revered as a cult figure since the 1950s, her allure stemming from the enigmatic nature of her work, both in terms of its subject matter and technique,” said curator and art historian Tere Arcq, who helped organize the exhibition with Art Institute curator Caitlin Haskell. Presented in partnership with Museo de Arte Moderno, Science Fictions is widely lauded for recognizing and expanding access to Varo’s contributions to art history, both of which are long overdue.

Given her enduring search for transcendence and transformation, would Varo have considered the artworks themselves an act of alchemy? “That’s a fascinating question,” Haskell says. “She was certainly reading about alchemy, as we know from her library, and she was not alone among the artists in her circle to be thinking about analogies between art making and alchemy. In a metaphorical sense, yes.”

Remedios Varo: Science Fictions is on view through November 27.

 

“Ciencia inútil, o El alquimista (Useless Science, or The Alchemist)” (1955), Museo de Arte Moderno, INBAL / Secretaría de Cultura.

Detail of “Creación de las aves (Creation of the Birds)” (1957)

“La huida (The Escape)” (1961), Museo de Arte Moderno, INBAL/Secretaría de Cultura. Photo by Rodrigo Chapa

Detail of “Armonía (Harmony)” (1956)

“Tauro (Taurus)” (1962), Museo de Arte Moderno, INBAL/Secretaría de Cultura. Photo by Rodrigo Chapa

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Enormous Animals and Human Hybrids Interact in Enigmatic Landscapes by Bill Mayer

“Black Goldfish at the Cliffs.” All images © Bill Mayer, shared with permission

Reimagining European art historical genres with a special affinity for the Romanticists, artist and illustrator Bill Mayer’s wry and moody paintings (previously) merge fantastical figures with vast landscapes. From a haughty crow with insect companions to a giant goldfish overseeing a lone figure on the coast, the artist’s enigmatic scenes highlight hybrid creatures and unexpected relationships.

“The Bird-Woman” is currently part of Beinart Gallery’s Small Works 2023 exhibition, which runs September 16 through October 8 in Melbourne, and Mayer’s work will also be a part of a group show in December with Principle Gallery. Explore more on the artist’s website and Instagram.

 

“Old Crow”

“Afternoon Tea”

“The Bird-Woman”

“The Black Swan”

“La Caracol”

“Mantis”

“Ringo, the Beatle”

“The Monkey’s Paw”

“When Insects Rule the World (Beetle)”

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Fragile Moths, Butterflies, and Botanicals Commingle in Żaneta Antosik’s Moody Digital Illustrations

All images © Żaneta Antosik, shared with permission

From her studio in Rawa Mazowiecka, Poland, Żaneta Antosik turns her eye toward the delicacies of the natural world as she renders the soft, frail forms of plants and insects. The artist primarily works digitally, sometimes beginning with a simple sketch on paper but often drawing directly in Procreate. Rendered on black or beige backdrops to reference a night sky or daytime light, each piece pays particular attention to the minuscule details, whether the tufted body of a moth or the speckled sepals of a poppy flower.

Evoking entomological displays found in attics or buried in archival collections, the renderings are tinged with nostalgia and an antique feel, as if they’d just been relieved of a thick layer. “I like objects with soul, old cinema, the world of Van Gogh and Pieter Bruegel,” she tells Colossal. ” I feel best in contact with nature. I was inspired to create a series with moths and butterflies by the beauty of these mysterious, small, and fragile creatures, which are extremely graceful models.”

Antosik sells prints and cards on Etsy, and you can follow her latest botanical and entomological renderings on Behance and Instagram.

 

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Cosmic Delights and Distant Discoveries Unfold in ‘Astronomy Photographer of the Year 15’

Mehmet Ergün (Germany), “The Great Solar Flare,” highly commended in the “Our Sun” category. All images © the photographers, courtesy of Astronomy Photographer of the Year, shared with permission

In its 15th year, the Royal Observatory Greenwich’s Astronomy Photographer of the Year competition (previously) welcomed more than 4,000 entries from photographers in 64 countries, who set their sights on the night skies. From solar flares to dancing auroras to distant galaxies, the winners of this year’s contest highlight the endless wonders of the cosmos and the astonishing technological advances that allow us to see lightyears away in unprecedented detail.

The overall winning image, “Andromeda, Unexpected,” was the result of a collaboration between astrophotographers Marcel Drechsler, Xavier Strottner, and Yann Sainty. The trio discovered an enormous plasma arc next to the Andromeda Galaxy (M31), spurring a transnational scientific collaboration to further investigate the phenomena.

We’ve shared a few favorites here, and you can see all shortlisted images in the contest’s online gallery. If you’re in London, you can visit the National Maritime Museum in Greenwich starting on September 16 to see more than 100 prints on display.

 

Andreas Ettl (Germany), “Circle of Light,” runner-up in the aurorae category

Marcel Drechsler (Germany), Xavier Strottner (France), and Yann Sainty (France), “Andromeda, Unexpected,” galaxies category winner and overall winner

Runwei Xu (China) and Binyu Wang (China), “The Running Chicken Nebula,” winner of the Young Astronomy Photographer of the Year award

Paul Montague (Australia), “Neighbours,” highly commended in the galaxies category

Katie McGuinness (U.K.), “Close Encounters of the Haslingden Kind,” highly commended in the “People and Space” category

Angel An (China), “Grand Cosmic Fireworks,” winner in the skyscapes category

Ethan Chappel (U.S.), “Mars-Set,” winner in the “Our Moon” category

Haohan Sun (China), “Moon at Nightfall,” highly commended in the Young Astronomy Photographer of the Year category

Peter Ward (Australia), “Dark Star,” runner-up in the “Our Sun” category

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At Elmhurst Art Museum, Contemporary Figurative Artists Reconsider Picasso’s Artistic Legacy Fifty Years After His Death

Laura Berger, “Reflecting, Refracting.” All images © the artists, courtesy of Elmhurst Museum, shared with permission

Commemorating the 50th anniversary of Pablo Picasso’s death, Elmhurst Art Museum joins a global movement of shows looking back at the artist’s work to present Picasso: 50 Years Later, a celebration of his unmistakable influence on modern art.

Organized in three parts, the exhibition introduces Picasso in the context of his contemporaries, like Alexander Archipenko, Fernand Léger, and Joan Miró. The museum also debuts a series of linocut prints from a private collection, which will later embark on a tour titled Picasso and the Progressive Proof. And Chicago-based contemporary artists Laura Berger, Liz Flores, Richard Hull, Leasho Johnson, and José Lerma highlight how the artist’s legacy is reappraised and reimagined in figurative work being made today.

Picasso: 50 Years Later continues through January 27, 2024, in Elmhurst, Illinois. Visit the museum’s website for more information and to plan your visit.

 

Pablo Picasso, “Bacchanal with Kid Goat and Onlooker” (1959), linocut proof. Image © 2023 Estate of Pablo Picasso and Artists Rights Society (ARS), New York

Left: José Lerma, “Potato Gave (Left Profile)” (2016), acrylic on canvas, 40 x 30 inches. Right: Liz Flores, “Mujeres 5” (2023), oil on pastel paper, 9 x 12 inches

Liz Flores, “A Day to Rest” (2023), acrylic on canvas, 48 x 60 inches

Richard Hull, “The Night” (2022), oil and wax ground on linen, 72 x 48 inches

Leasho Johnson, “Man Standing in Cane Field” (2020), charcoal, watercolor, distemper, acrylic, spray paint, oil stick, and oil paint on canvas, 30 x 24 inches

Larger Berger, “A Lightness, a Flight”

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RISD Launches New Program to Boost Corporate Creativity

It’s no secret that businesses want more creativity. In one recent study, 77 percent of CEOs said they struggle to find the innovation and creativity skills they need. At the same time, creativity has never been in more demand. The basis of competition is shifting as technology continues to reshape industries. In a post-pandemic world, people are questioning long-held assumptions about the workplace. Attention is increasingly turning to the impacts of business on communities and the environment. Unfortunately, corporate cultures tend to limit the very creativity they need and organizations get stuck reproducing the “best practices” of the past. RISD is launching a new program that aims to help.

RISD has always embraced the power of art and design to shape the world and the value of creative thinkers to take on its big challenges. The college is committed to educating students and the public and contributing to society through critical thinking and innovation across disciplines. Of course, educating future artists and designers is central to that mission, but RISD doesn’t believe creativity should be restricted to a chosen few.

RISD ExED is a new initiative to create educational opportunities for business people regardless of their level of formal design training. Its goal is to enable people from any industry to transform their work with new insights and inspiration while exploring the intersections of art, design, and business.

 

RISD’s riverside campus in Providence, Rhode Island

ExED’s first pilot program, the Art of Creativity, is designed for people from any field who want to reinvigorate their own work as an opportunity for creative practice. RISD’s tradition of studio education means participants won’t just be sitting in lectures. A mix of on-campus, online, and on-the-job activities will help participants reconnect with their own creative aspirations, build habits that foster creative practice, tap into the creative power of groups, and lead creative work in their own organizations.

The Art of Creativity is an open-enrollment program that individual learners can sign up for themselves. The on-campus launch of the inaugural cohort will take place on December 5 and 6. ExED is offering early registration discounts for participants who sign up by September 30.

To register, visit risd.edu/exed/art-of-creativity.

Over the coming years, RISD ExED will be developing a portfolio of programs for executive and corporate audiences that draw on faculty from across the institution and the expertise of the extended RISD community. The next program in their pipeline, The Design Lab, will allow a single company to convene collaborators around a tough business challenge and approach it in a new way through the lens of design. Additional program titles have yet to be announced, but if RISD’s track record as a place for experimentation and exploration is any indicator, they promise to be interesting.

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