Art Archives — Colossal https://www.thisiscolossal.com/category/art/ The best of art, craft, and visual culture since 2010. Wed, 15 Jan 2025 20:52:55 +0000 en-US hourly 1 https://wordpress.org/?v=6.7.1 https://www.thisiscolossal.com/wp-content/uploads/2024/08/icon-crow-150x150.png Art Archives — Colossal https://www.thisiscolossal.com/category/art/ 32 32 A New Searchable Public Domain Archive Collects 10,000+ Images Free for Use https://www.thisiscolossal.com/2025/01/public-domain-image-archive/ Wed, 15 Jan 2025 21:31:00 +0000 https://www.thisiscolossal.com/?p=448544 A New Searchable Public Domain Archive Collects 10,000+ Images Free for UseNeed inspiration? A new image archive is a veritable trove of creativity.

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This month, the team at The Public Domain Review launched a new project aimed at artists, illustrators, designers, and creatives of all stripes. Containing 10,000+ items, the Public Domain Image Archive is a vast trove of illustrations, prints, scans, and more, all downloadable and free for use.

The database offers a functional search that allows users to sort by artist, time period, style, and theme. For those seeking maximum visual stimulus, there’s also an “Infinite View” option that collates images of all types into a navigatable grid.

the public domain image archive search page

Included in the collections are 19th-century drawings that turn maps into farcical figures, vivid fish renderings by Louis Renard, and satirical black-and-white cartoons from the censorship-laden Prohibition era.

Curators plan to add more entries to the database each week, so be sure to check back for updates. And, if you’d like more deep dives into copyright-free works, check out the public domain archive on Colossal.

a collection of images (posters, illustrations, prints) in a grid
three images available through the public domain image archive
a collection of images (posters, illustrations, prints) in a grid

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In Saqqara, Archaeologists Uncover the Sumptuous 4,100-Year-Old Tomb of a Royal Physician https://www.thisiscolossal.com/2025/01/saqqara-physician-tomb/ Wed, 15 Jan 2025 16:11:10 +0000 https://www.thisiscolossal.com/?p=448496 In Saqqara, Archaeologists Uncover the Sumptuous 4,100-Year-Old Tomb of a Royal PhysicianScholars continue to unfurl millennia-old mysteries as archaeological excavations carry on in the ancient necropolis of Saqqara.

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For ancient Egyptians, the afterlife—also called Duat, among other names—was a mystical realm overseen by the god Osiris, who personified rebirth and life after death. But entry to Duat was anything but guaranteed; when a person died, their spirit traveled across vast, challenging terrain and deposited them at the Hall of Final Judgment, where their heart was weighed against a feather from Ma’at, the goddess of justice and truth.

In preparation for the afterlife, royals, dignitaries, and the wealthy elite constructed great tombs. The most elaborate among them were painted with ornamental murals that shared one’s accomplishments, packed with artwork and riches to demonstrate each individual’s status and accompany them to Duat.

painted stone relief carvings of jewelry and garments in an ancient Egyptian tomb

Expansive ancient necropolises complemented large cities, where society’s upper crust commissioned tombs, temples, and pyramids. For the capital of Memphis, the final resting place was typically Saqqara, which contains some of Egypt’s oldest monuments, some of which date back to the First Dynasty around 5,000 years ago.

Scholars continue to unfurl millennia-old mysteries as archaeological excavations carry on in Saqqara. And sometimes, as researchers from the Mission Archéologique Franco-Suisse de Saqqâra (MAFS) recently found out, marvelous and unexpected discoveries still emerge from the sand.

During the 2024 season, as the team excavated near a mastaba—a large-scale, rectangular, flat-roofed tomb—they discovered a number of smaller burials, including a “kiln” tomb. Also known as “oven” tombs, these burials are “made of raw bricks that are characterized by their vaulted ceiling,” says a statement from MAFS. “They are built several meters below the ground, and the only way to access them is through the burial shaft, always placed to the north of the entrance.”

Typically, kiln tombs are “fairly simple mud brick monuments, sometimes with limestone walls, and even less often decorations,” MAFS says. Today, they are also often empty as a result of looting throughout the centuries. But instead of a basic, unadorned room, the team found vibrant wall paintings commemorating a doctor who died around 4,000 years ago.

at Saqqara, the linteled entrance to the ancient burial chamber of a doctor in ancient Egypt

Archaeologists uncovered a stone tablet bearing the doctor’s name, Tetinebefou, near the entrance. A stele is a stone slab featuring text, imagery, or both, and in ancient Egypt, a false door stele represented a portal for the deceased’s spirit pass through into the afterlife. As researchers explored farther, the physician’s name was represented in other locations, confirming it to be his tomb.

As reported in Live Science, Tetinebefou was known as a “dean of the palace physicians,” with inscriptions referring to him also as “conjurer of the goddess Serqet,” who was associated with protection from scorpion stings. He was also prescribed the titles of “director of medicinal plants” and “chief dentist,” both of which are unusual designations in ancient Egypt. It’s unclear which pharaoh he may have served, but MAFS’s lead Egyptologist Philippe Collombert suggests Tetinebefou may have worked under Pepi II, who reigned between approximately 2246 and 2152 B.C.E.

Inside the tomb, relief carvings of urns, furniture, hieroglyphs, and garments are complemented by colorful patterns and richly textured ceiling. At some point in the past, the doctor’s tomb had indeed been looted, and only tiny fragments of objects remained. The decorations, however, mark an exceptional discovery.

A documentary slated for 2026, directed by Frédéric Wilner, will take a deeper dive into the details of this excavation. In the meantime, explore more on the MAFS website.

painted stone relief carvings of urns, hierogylphs, and furniture in an ancient Egyptian tomb
painted stone relief carvings of urns and furniture in an ancient Egyptian tomb

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Vibrant, Immersive Installations by Poh Sin Studio Emphasize Vulnerability as a Strength https://www.thisiscolossal.com/2025/01/poh-sin-studio-installations/ Wed, 15 Jan 2025 11:00:00 +0000 https://www.thisiscolossal.com/?p=448397 Vibrant, Immersive Installations by Poh Sin Studio Emphasize Vulnerability as a StrengthPamela Poh Sin Tan's immersive works blur the boundaries between creative disciplines.

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From vibrant rope to metal frames to acrylic panels, the chromatic installations of Poh Sin Studio invite viewers into glowing thoroughfares and sprawling pavilions. Founded by Pamela Poh Sin Tan, the studio emphasizes public art as a means of fostering relationships between people, their communities, and their surroundings.

Tan’s immersive works blur the boundaries between disciplines, evoking a sense of curiosity and discovery. “I’m particularly drawn to engaging the public through art and creating experiences that inspire dialogue and connection,” she tells Colossal. “I believe public art is a powerful catalyst for urban renewal and psychological well-being, providing moments of reflection, joy, and connection.”

a detail of a vibrantly colored architectural pavilion made of bright red acrylic panels cut into undulating shapes
Detail of “Crimson Cloud”

For example, the artist shares that her most recent installation, “Structural Resonance,” explores the interplay between art and architecture, embodying layers of spatial and experiential narratives.” She is interested in how physical spaces interact with their environment and affect us visually and emotionally.

Embracing fragility as a form of strength is central to Tan’s practice, manifesting in the way soft materials, like rope, complement those associated with resilience and permanence, like metal. “I find inspiration in overlooked details, such as plant veins, diatoms, mechanical and electrical systems, or even the skeletal framework of objects like a piano,” she says. “These hidden elements hold quiet beauty and complexity that I love to bring to light.”

Art and architecture are inherently intertwined in Tan’s view. Design and engineering provides structure, context, and utility, while the artistic aspect adds compelling narrative and emotion. “Together, they reveal hidden dimensions, evoke movement, and connect deeply with viewers,” she says.

Explore more on Poh Sin Studio’s website and Instagram.

a large-scale ceiling installation of intricate metalwork
“Structural Resonance” (2024)
an aerial view of a vibrantly colored architectural pavilion made of metal poles and rope
“Projection: Kite.” Photo by David Yeow
a detail of a vibrantly colored architectural pavilion made of metal poles and rope
Detail of “Projection: Kite” (2019). Photo by David Yeow
a yellow installation made of undulating pieces of arcylic, placed over a stairwell in a transit station
“Sunnyside Up” (2023) at MRT Pasar Seni, Kuala Lumpur, Malaysia
a yellow installation made of undulating pieces of arcylic, placed over a stairwell in a transit station, viewed from above
“Sunnyside Up” (2023)
an aerial view of a vibrant red architectural pavilion made of bright red acrylic panels cut into undulating shapes
“Crimson Cloud” (2022), at Pavilion Kuala Lumpur, Malaysia
a detail of a vibrantly colored architectural pavilion made of bright red acrylic panels cut into undulating shapes
Detail of “Crimson Cloud”
an all-white installation of intricate metalwork in a white exhibition space
“Eden”
a large-scale ceiling installation of intricate metalwork
“Structural Resonance”

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Paper or Porcelain? Saori Matsushita Folds Delicate Ceramic into Playful Objects https://www.thisiscolossal.com/2025/01/saori-matsushita-porcelain-sculptures/ Tue, 14 Jan 2025 20:03:43 +0000 https://www.thisiscolossal.com/?p=448445 Paper or Porcelain? Saori Matsushita Folds Delicate Ceramic into Playful ObjectsPunctured with binder holes and the fringed edge of a torn-out sheet, the sculptures bear the iconic blue lines of a school notebook.

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It might be tempting to throw one of Saori Matsushita’s paper airplanes across the room, but we promise you the landing would be less than graceful.

From her Seattle studio, Matsushita transforms delicate sheets of porcelain into vases, mugs, and sculptures that appear as if they were folded from paper. Punctured with binder holes and the fringed edge of a torn-out sheet, the functional objects bear the iconic blue lines of a school notebook. Other works are similarly deceptive, like the cloth sack or collared-shirt vessels that capture the folds, bends, and bulges of fabric in ceramic.

a tiny button up shirt on a hanger holds flowers

To create these pieces, Matsushita utilizes nerikomi, a Japanese pottery technique that involves layering colored bodies of clay together and then cutting them to reveal a patterned section. Stripes of blue and pink appear through stacking slabs rather than the glazing process, and the artist builds most works by hand (head to her YouTube to see more).

When Matsushita began incorporating this labor-intensive method into her practice in 2023, it helped develop what’s now become her signature style. She shares:

Previously, I focused on Neriage, a technique where colored clays are combined and wheel-thrown. However, I transitioned to Nerikomi and began treating porcelain sheets like origami or leather to create more unique, personal expressions of my vision. I feel this shift has allowed me to establish a style that truly reflects my individuality as an artist.

One of Matsushita’s pieces will be featured in Saltstone Ceramics’ annual Mug Madness tournament this March. Follow the latest in her practice, along with announcements about new works available in her shop, on Instagram.

a blue ceramic vase that appears to be made of paper holds flowers
two ceramic paper airplane sculptures atop white notepad
a white ceramic vase that appears to be made of paper holds flowers
a trio of vases shaped like white and blue dresses
a ceramic butter dish that appears to be made of blue lined white graph paper
two small ceramic dishes that appear to be made of folded kerchiefs
a collection of ceramic mugs, trays, and vessels that appear to be made of white graph paper

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Lauren Halsey’s ’emajendat’ Is an Energetic Celebration of South Central Los Angeles https://www.thisiscolossal.com/2025/01/lauren-halsey-emajendat/ Tue, 14 Jan 2025 13:56:42 +0000 https://www.thisiscolossal.com/?p=448316 Lauren Halsey’s ’emajendat’ Is an Energetic Celebration of South Central Los AngelesVibrant sculptures and site-specific installations vividly reflect the artist's community.

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Inspired by the South Central neighborhood of Los Angeles, where Lauren Halsey’s family has lived for generations, vibrant sculptures and site-specific installations vividly reflect the artist’s community.

At Serpentine South, a large-scale, maximalist exhibition titled emajendat highlights Halsey’s self-described obsession with material culture, her interest in remixing messages and symbols, and the need to confront issues that affect people of color, the queer community, and the working class.

an installation view of a maximalist exhibition by artist Lauren Halsey, featuring numerous collaged photographs, reflective surfaces, Black figures, patterns, and prismatic colors
Installation view

Halsey gathers photographs, posters, flyers, commercial signs, and found objects that relate to her communities’ activism, highlighting “a sense of civic urgency and free-flowing imagination,” says David Kordansky Gallery, which co-represents the artist with Gagosian. “Inspired by Afrofuturism and funk, as well as the signs and symbols that populate her local environments, Halsey creates a visionary form of culture that is at once radical and collaborative.”

Past, present, and future merge in the artists exploration of how idols, architecture, history, and communication fuel how we perceive identities and society. She draws on the imagery of ancient Egypt, the African diaspora, Black and queer icons, and the visionary design associated with funk to construct a kind of ever-evolving archive.

In a monumental rooftop installation titled “the eastside of south central los angeles hieroglyph prototype architecture (I),” Halsey nods to palatial, ancient Egyptian architecture, placing the faces of notable Black figures on the columns’ capitals, such as activist Susan Burton and ethnomusicologist Dr. Rachel Eubanks.

Halsey’s eclectic “funkmound” sculptures also encompass numerous found items, harboring miniature dioramas and objects that appear as though they are emerging from heaps of cotton candy. Throughout emajendat, seemingly endless collages, sculptures, reflections, prismatic color, patterns, messages, and textures welcome the viewer into an enthusiastically immersive experience.

a large outdoor installation mimicking ancient Egyptian palace architecture, with Black figures' faces on the capitals
Installation view of ‘The Roof Garden Commission: Lauren Halsey,’ “the eastside of south central los angeles hieroglyph prototype architecture (I)” (2022). Photo by Hyla Skopitz, © Lauren Halsey, courtesy of the artist; David Kordansky Gallery and The Metropolitan Museum of Art

The social element of Halsey’s work is amplified by a community center she founded in 2019 called Summaeverythang, located adjacent to her studio in South Central. The nonprofit initiative is “dedicated to the empowerment and transcendence of Black and Brown folks socio-politically, economically, intellectually, and artistically.”

emajendat continues through February 23 in Kensington Gardens, London. Plan your visit on the gallery’s website.

the tops of two columns, part of a large outdoor installation mimicking ancient Egyptian palace architecture, with Black figures' faces on the capitals
Foreground: “keepers of the krown (susan burton)” (2024), glass fiber, reinforced concrete, and mixed media, 261 3/4 x 48 1/8 x 48 1/8 inches. Background: “keepers of the krown (dr. rachel eubanks)” (2024), glass fiber, reinforced concrete, and mixed media 261 3/4 x 48 1/8 x 48 1/8 inches. Photo by Andrea Avezzù, © Lauren Halsey, courtesy of the artist, David Kordansky Gallery, and Gagosian
an installation view of a maximalist exhibition featuring numerous collaged photographs, reflective surfaces, and prismatic colors, focused on a stack of hands emerging from the walls, showing highly decorated fingernails
Installation view
a detail of a large sculpture of a Black person's hands showing large fingernail designs with imagery ranging from Pikachu to leopard print
Installation detail
an installation view of a maximalist exhibition by artist Lauren Halsey, featuring numerous collaged photographs, reflective surfaces, cloud-like structures and prismatic colors
Installation view
a detail of a large-scale installation showing a Black woman's head with a colorful afro, with her mouth open as if singing or screaming
Installation detail
a detail of a collaged image of numerous Black pop culture figures, objects, and signs
Installation collage detail

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Nosheen Iqbal Translates Pakistani Craft Traditions into Vivid Sculptural Embroideries https://www.thisiscolossal.com/2025/01/nosheen-iqbal-embroidery-sculptures/ Mon, 13 Jan 2025 21:30:00 +0000 https://www.thisiscolossal.com/?p=448254 Nosheen Iqbal Translates Pakistani Craft Traditions into Vivid Sculptural EmbroideriesArchitectural arabesques and Punjabi craft traditions influence the artist's vivid mixed-media motifs.

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Equipped with vibrant cotton thread and wooden panels, Nosheen Iqbal stitches sculptural embroideries that draw on her Pakistani and Islamic heritage. Architectural arabesques and Punjabi craft traditions influence her mixed-media motifs, including phulkari, or floral folk embroideries, and woodblock printed reliefs known as bagh.

Iqbal utilizes half-circles and semi-precious beads to add depth and visual intrigue to the works. Creating shadows and catching the light, these meticulously planned details allow a shift in perspective depending on the viewer’s position. The sweeping lines of color create “saturated pathways that reveal their intensity and depth,” she adds, “allowing my work to offer a shifting experience of light, color, and connection.”

a detail image of a vibrant embroidered sculptural flower on wood

By emphasizing dimension and the interactions between materials, Iqbal hopes to push the medium in new directions while honoring broader making traditions. She says:

Craftsmanship holds a profound significance in Pakistani culture, where artistry is revered as a lifelong discipline that shapes identity and community. This respect for meticulous craftsmanship is integral to my own practice. By selecting thoughtful materials—wood, semi-precious beads, and thread—I aim to honor this tradition. Each piece is a reflection of this cultural value, merging refined textures with precision to invite a tactile, immersive experience for the viewer.

Born in London, Iqbal lives and works in Dallas and recently left a long career in design and art direction to become an artist full-time. You can find available pieces on her website and follow her work on Instagram.

a diamond shaped panel with vibrant patchwork border and a sculptural embroidered flower at the center
a floral embroidery in greens and blues on a wooden panel
a wooden panel with a curved top edge. an embroidered patchwork is on the left side and sculptural embroidered leaves are on the right
a detail image of embroidered sculptures with small wooden pieces and beads to create dimension
a vibrant embroidered sculptural flower on wood oval panel. the thread is mostly shades of oranges and reds
a diamond shaped panel with vibrant patchwork border and a sculptural embroidered flower at the center
a trio of vibrant embroidered sculptural flowers on wood oval panels. two of the larger works contain a patchwork int he center of two halved flowers, while the smaller is a perfectly round bloom

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Nosheen Iqbal Translates Pakistani Craft Traditions into Vivid Sculptural Embroideries appeared first on Colossal.

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Lifelike Canines Lounge in Emily O’Leary Uncanny Hooked Rugs https://www.thisiscolossal.com/2025/01/emily-oleary-dog-rugs/ Mon, 13 Jan 2025 18:00:00 +0000 https://www.thisiscolossal.com/?p=448297 Lifelike Canines Lounge in Emily O’Leary Uncanny Hooked RugsThe hooking process allows each individual loop to be applied at a different height, creating three-dimensional reliefs.

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Most dogs spend at least half of their day asleep—some getting z’s for upwards of 18 hours. Whether curled up on the floor or enjoying a long-legged stretch, the subjects of Emily O’Leary’s rugs evoke our beloved pets.

Based on photographs of actual dogs, she focuses mostly on animals the artist doesn’t know. “I like to hook dogs that are pretty ‘mutty’ looking, that don’t look like yard-bound Golden Retrievers or Doodles,” she tells Colossal. “I’m attracted to the shared history of humans and dogs—how the bulk of their domestication may have happened somewhat inadvertently.”

“Injured Elbow Dog” (2020), hand-hooked wool yarn on linen

Employing a carpet-making technique called rug hooking, the earliest form of which can be traced to Northern England in the early 19th century, O’Leary spends several months on a single piece. Compared to tufting, “It’s a slower, more traditional process,” she says, but the process allows each individual loop to be applied at a different height, giving her the ability to create three-dimensional reliefs.

O’Leary learned to make rugs after predominantly focusing on embroidery. When some friends organized an exhibition themed around dogs, she had the idea to make a work in the shape of a life-size canine. “I’m lucky that the rugs sort of do inspire tender feelings in the people who see them, but that they’re also a bit uncanny,” she says.

The pieces’ weight and realistic details engender an intimate connection as they come to life, so to speak. “I really feel like I’ve built a relationship with the object,” she says, adding: “Sometimes the dogs I hook have wounds or scars. The dog rug I’m working on right now is missing a little chunk of her ear.  I want to depict them as they are, not stuffed animal versions.”

Find more on O’Leary’s website and Instagram.

“Brown and Black Dog” (2021), hand-hooked wool yarn on linen
Detail of “Mottled-leg Dog” (2024), hand-hooked wool yarn on linen
“Sandy Reddish Dog” (2023), hand-hooked mostly-wool yarn on linen
Photo by Bucky Miller
Photo by Bucky Miller

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Time and Geography Dissolve in Otherworldly Landscapes by Sholto Blissett https://www.thisiscolossal.com/2025/01/sholto-blissett-life-in-deep-time/ Fri, 10 Jan 2025 16:30:00 +0000 https://www.thisiscolossal.com/?p=448100 Time and Geography Dissolve in Otherworldly Landscapes by Sholto BlissettBlissett's oil paintings simultaneously highlight and defy our aesthetic understanding of "nature."

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Encircled by light, water, or stone, the central subjects of Sholto Blissett’s oil paintings simultaneously highlight and defy our aesthetic understanding of “nature.” Drawing on the rich history of landscapes, from the Dutch Golden Age to 19th-century British paintings to the Hudson River School, the artist illuminates spiritual associations and the universality of the sun, moon, the elements, and the earth.

In his solo exhibition, Life in Deep Time, at Hannah Barry Gallery, Blissett’s large-scale works explore “the tenderness between natural architecture, ecological thought, human fantasy, and celestial forms of light and visibility,” says a statement.

“Creatures of the Flame I” (2024), oil on canvas, 78 3/4 x 118 inches

Blissett often employs classical architecture or historical references that create a kind of gulf or divide between the scene and the viewer, separating us from the scene by time, geography, and a sense of the unknown.

In his most recent works, architectural facades like grand palazzos or towering obelisks have been subtly replaced by the more organic forms of trees, caves, or boulders. We’re ushered into subterranean realms flooded with moonlight, suggesting a continuum of prehistory through to the future.

Blissett is fascinated by the scale of human existence. Think of the way you might feel peering out the window of an airplane and comprehending the magnitude of the world beneath you—how small you feel, and yet, how connected. Compared to millions-year-old caves, tectonic shifts, or dried sea beds, the time span of human existence reads as merely a speck within that timespan.

Almost portrait-like, Blissett centers trees, monuments, and natural phenomena in each composition, silhouetted in the light and framed by rock walls or foliage as if the landscape has transformed into a boundless stage.

“Vertigo” (2024), oil on canvas, 78 3/4 x 118 inches

The light itself—what it reveals or conceals—is a character unto itself, reminding us of the limitations of sight, and that outside of the two-dimensional format of the painting, we are always enveloped by our surroundings. Blissett suggests that the darkness continues around and behind us, too, reiterating our focus toward the light, toward comfort and knowledge.

Often more than six feet wide or nearly as tall, Blissett’s expansive scenes approach immersion. He “calls attention to our manufactured and shifting relationship between social constructions of ‘nature’ and ‘culture’—their cosmically entwined, spectral, and thorny coexistence,” the gallery says.

Life in Deep Time continues through February 8 in London, and a book published by Foolscap Editions to accompany the exhibition will be launched on January 25 with a reception from 2 to 4 p.m. The artist’s work is also on view in The Silver Cord at Huxley Parlour, which continues through January 18. Find more on Blissett’s website and Instagram.

“Borrowed Light” (2024), oil on canvas, 78 3/4 x 118 inches
an otherworldly landscape painting of an Italian facade on the top of a very large waterfall
“Ship of Fools II” (2022), oil and acrylic on canvas, 94 1/2 x 78 3/4 inches
“Creatures of the Flame II” (2024), oil on canvas, 78 3/4 x 118 inches
“World Maker II” (2024), oil on canvas, 78 3/4 x 118 inches
an otherworldly landscape painting with a large structure on a rocky outcrop, surrounded by water and flanked by trees
“Feral” (2023), oil and acrylic on canvas, 78 3/4 x 118 inches
“World Maker I” (2024), oil on canvas, 78 3/4 x 118 inches
an otherworldly landscape painting of an obelisk monument perched on a rocky outcrop in a mountainous landscape
“Ship of Fools XII” (20220, oil and acrylic on canvas on board, 43 3/8 x 39 3/8 inches

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Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases https://www.thisiscolossal.com/2025/01/mantra-miami-mural/ Fri, 10 Jan 2025 14:01:19 +0000 https://www.thisiscolossal.com/?p=448182 Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen CasesFascination by nature and its preservation, the French artist creates monumental specimen cases on buildings around the world.

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French artist Youri Cansell, a.k.a. Mantra (previously) continues to brighten neighborhood streets and large cities alike with his vivid insect murals. Drawing on a fascination with nature and its preservation, he creates monumental specimen cases on buildings around the world, filled with a wide variety of butterflies.

The artist recently completed his largest mural to date in Miami, positioned on the rooftop of the Southeast Financial Center building. Nestled into the surface of a characteristically organized case, a range of colorful butterflies rest alongside the structure’s utility systems.

an aerial view of a person painting a giant rooftop mural of realistic butterflies
Detail of progress on mural in Miami

The mural features numerous species, including the endangered Miami blue butterfly that’s native to South Florida. “It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” the artist says.

Additional recent projects include a giant glass-fronted display on the side of a building in Brooklyn and a towering, narrow composition in downtown Houston. Find more on Mantra’s website and Instagram.

a giant mural on the side of a multistory building of realistic butterflies arranged as if in a specimen case
Houston, Texas
a giant mural on the side of a building in downtown Brooklyn of realistic butterflies arranged inside the windows as if in a specimen case
Brooklyn, New York
a giant mural on the side of a brick building of realistic butterflies arranged as if in a specimen case
Crans-Montana, Switzerland
Breda, The Netherlands
an aerial view of a person painting a giant rooftop mural of realistic butterflies
Detail of progress on mural in Miami
a mural of a large butterfly on the side of an old brick building, photographed at dusk
Rombas, France
an aerial view of a person painting a giant rooftop mural of realistic butterflies
Detail of progress on mural in Miami

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Tens of Thousands of Individual Dots Bring Ornamental Rugs to Life in Antonio Santín’s Paintings https://www.thisiscolossal.com/2025/01/antonio-santin-puente-de-plata/ Thu, 09 Jan 2025 16:29:35 +0000 https://www.thisiscolossal.com/?p=448153 Tens of Thousands of Individual Dots Bring Ornamental Rugs to Life in Antonio Santín’s PaintingsSantín's training as a sculptor lends itself to paintings with tactile textures and a dimensionally illusory quality.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Tens of Thousands of Individual Dots Bring Ornamental Rugs to Life in Antonio Santín’s Paintings appeared first on Colossal.

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From grid-like woven patterns to intertwined strands of fringe, Antonio Santín’s hyperrealistic oil paintings (previously) look incredibly similar to the ornamental carpets they’re modeled on. By studying real rugs and the way they scrunch, fold, and interact with light, he transfers these qualities to canvas. The overall designs, however, are a product of the artist’s imagination.

Santín trained as a sculptor, and his eye for shapes and the power of contrast lent itself to paintings with tactile textures and a dimensionally illusory quality. “In the past two years, as his technical skills allowed for far more detail than is found on a sewn carpet, he began to invent the entire image,” says Marc Straus, who is presenting Santín’s work in the artist’s seventh solo show with the gallery.

a detail of a hyperrealistic oil painting of a crinkled ornamental carpet fringe
Detail of “Puente de plata”

The artist continues to employ a precisely calibrated pneumatic compressor that allows him to apply oil pigments millimeters at a time. Tens of thousands of individual dots are arranged to create a consistent rhythm across the entire surface.

New paintings in Puente de plata, or “silver bridge,” celebrate the relationship between abstraction and pure pattern, reveling in vibrant color and intricacy in works that are more personal. The show opens tomorrow and continues through March 1 in New York. Explore more on the gallery’s website and Santín’s Instagram.

a hyperrealistic oil painting of a crinkled ornamental carpet
“Puente de plata” (2024), oil on canas, 63 x 85 5/8 inches
a highly textured oil painting in a multi-colored floral pattern
“Tafalla” (2023), oil on canvas, 23 5/8 x 19 3/4 inches
a hyperrealistic oil painting of a crinkled ornamental carpet
“Victoria” (2024), oil on canvas, 94 1/2 x 78 3/4 inches
a detail of a hyperrealistic oil painting of a crinkled ornamental carpet
Detail of “Victoria”
a detail of a hyperrealistic oil painting of a crinkled ornamental carpet
Detail of “Victoria”
a hyperrealistic oil painting of a crinkled ornamental carpet
“Carambola” (2024), oil on canvas, 70 7/8 x 78 3/4 inches
a framed, highly textured oil painting in a multi-colored floral pattern
“Aldealengua” (2024), oil on canvas, 25 3/8 x 21 1/2 x 2 inches (framed)
a detail of a highly textured oil painting in a multi-colored floral pattern
Detail of “Aldealengua”
a hyperrealistic oil painting of a crinkled ornamental carpet
“Puente de plata” (2024), oil on canas, 63 x 85 5/8 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Tens of Thousands of Individual Dots Bring Ornamental Rugs to Life in Antonio Santín’s Paintings appeared first on Colossal.

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