Père Lachaise Cemetery in Paris is perhaps one of the world’s most famous burial grounds, home to luminaries like authors Oscar Wilde and Marcel Proust, musicians and composers like Frédéric Chopin, Édith Piaf, and even The Doors’ Jim Morrison, among many others. Its family tombs and sculptural headstones are iconic, and when artist Marina Kappos spent time wandering through Père Lachaise during a stay in the city last year, she was intrigued by the sculptures of grieving women she encountered. “They seemed to hold a power in their sadness, but also great beauty and remembrance as they stood guard over many of the tombs,” the artist says.

In Piercing the Veil at SHRINE, Kappos’ solo exhibition that opens this week, the artist delves into the nature of loss and memory. “Grief is a somber subject and multi-layered; it feels fitting for the time we’re living in, but I also saw hope and life bursting through,” she says. Few instances highlight the duality of life and death so well as the context of a cemetery, and that’s where the artist honed in on her interest in relationships between presence and absence, the terrestrial and the spiritual, and impermanence and decay.

Piercing the Veil features Kappos’ signature aura-like acrylic paintings on wood panels in which thin layers of pigment create a kind of gauzily psychedelic, prismatic effect. Consciousness is at the root of her works, reflected in the title of the show, which references the idea of awakening—of achieving some kind of enhanced comprehension or level of perception within one’s world. “These paintings depict that threshold,” Kappos says, “moving from one realm to another.”

Hazy landscapes unfold in the distance of some works, and keyhole shapes emerge almost Magic Eye-like in the center of several others. These focal portals unlock something, the artist says, “perhaps our own beliefs and the haze of the unknown, or they can act like doorways to another time or place.” And the figure of the widow, influenced by the gravestones, is present in elegant facial profiles and hands. Kappos likens her to someone who has not only been left behind but may be a spectre herself—one that “has power, magic, strength, and can potentially straddle two worlds.”

Piercing the Veil opens on May 15 and continues through June 27 in New York City. See more on Kappos’ Instagram.

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May is an incredibly busy time for migrating birds, as millions flock from their southerly wintertime feeding grounds back to northern climes, where they’ll nest and breed. Chances are, if you look and listen in your back garden or nearby nature preserves, a wide variety of unusual birds may be noticeable around this time as they stop off to refuel during their journeys. So, it’s fitting that Vasilisa Romanenko’s solo exhibition, Flora & Flight at Arch Enemy Arts, continues this month.

Romanenko’s detailed acrylic paintings, which range from six to 28 inches tall, set birds within vibrant sprays of blossoms. They’re intimate and inviting, bringing us close to these feathered creatures that, in real life, we expect to dart off the moment we get near. White doves sit amid peonies, poppies, and snapdragons, and dark-eyed juncos perch on colorful hollyhocks. “Each bird in Vasilisa’s work carries such a wonderful sense of form and character,” the gallery says. “Each leaf and flower feels varied and alive.”

Flora & Flight continues through May 31 in Philadelphia. See more on Romanenko’s Instagram.

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Debbie Lawson is known for her large-scale sculptures of life-size animals cloaked in ornamental carpets. Starting with an armature of wire mesh, masking tape, and Jesmonite resin, she meticulously cuts and tucks Persian carpet around every limb, building a surface that looks unbroken. As if the animals have materialized from within the textiles and are temporarily frozen in a stage of metamorphosis, we encounter them on the verge of making a move.

In the artist’s solo exhibition, In a Cowslip’s Bell I Lie at Sargent’s Daughters, she provokes “questions about the relationships between decoration and nature, craft and camouflage,” the gallery says. The title is a line from Shakespeare’s The Tempest, when the spirit Ariel sings about freedom and the carefree, even charmed connection to nature following his release from forced servitude to the sorcerer Prospero. Several of the works seen here, including “Wild Dog Sundown,” “Red Eagle,” and “Black Cougar,” are included in the show.

Lawson draws on the lineage of nature motifs in art, especially wildlife. She alludes to “the natural and animal forms hidden within decorative forms and patterns, from the frescoes of Pompeii to French Rococo moldings to Venetian stone carvings—the designs of William Morris and even the New York Public Library’s lions,” says a statement. Think clawfoot tubs, heraldic animals carved into hearths and other decorative interior elements, and the more modern form-meets-function works of Les Lalannes, which often incorporate birds and mammals into designs for benches and lamps.

The dialogue between art and decor parallels inherent tensions between interiors and the outside world—refinement and domesticity versus nature or indeed, the wilderness. Lawson also thinks about the gendered history of home life and craft, which has long been been associated with “women’s work.” This is deeply personal for the artist, as textile- and art-making go back generations in both her family and her hometown of Dundee, Scotland. She says, “I’m also thinking about women, including some of my near ancestors, so often confined by the constraints of the patriarchal society in which they/we lived, trapped in the daily grind and unable to pursue their own considerable creative talents or fully inhabit the world.”

Lawson’s camouflaged animals manifest from the backgrounds of carpets, emphasizing emergence itself. As these wild animals—leopards, cougars, bears, and more—are more clearly defined, they don’t break free from their patterns. Rather, they are indelibly characterized by the textile and can be clearly recognized for their unique individual traits. It’s not unlike how craft, especially textiles that were historically relegated to domestic settings and considered at least a notch or two below “high art,” has intently disrupted the art canon in recent decades.

In a Cowslip’s Bell I Lie continues through May 30 in New York. See more on Lawson’s Instagram.

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Throughout her illustrious 32-year career, Pacita Abad (1946-2004) traveled to more than 60 countries. Myriad experiences ultimately introduced her to a wide range of techniques, materials, and relationships, shaping the artist’s practice over time. Movement provided an enduring source of new ideas and inspiration, and as she put it, “For me, traveling is my art school.”

In the spring of 1998, Abad visited Yemen. At the time, the country was still in recovery following the Yemeni Civil War, which took place four years prior. Grounded in her rigorous political engagement and the instabilities experienced in her native Philippines, Abad reflected on the immutable significance of cultural practices and their value despite periods of upheaval.

“Rather than positioning herself within a nameable lineage of artistic influences who moved in conventional gallery spaces,” Tina Kim Gallery notes, “Abad instead favored the inheritance of historically anonymous workers in craft, textiles, and the decorative arts, from locations outside of established Western institutional and market infrastructure.” This quote appears in a statement for the New York gallery’s third solo exhibition of Abad’s works, titled Door to Life.

The presentation highlights a body of work Abad completed in subsequent years, which takes inspiration from Yemen’s vibrant, ornate displays of architecture and decoration. One particular focus was doors, which the gallery refers to as “portals.” Through countless photographs and numerous sketches of doorways she encountered on excursions, Abad created a prolific visual archive to take home and use as reference, adding “Everyday a new idea, everyday a new door.”

Crafted in her signature trapunto style, Abad’s vertical, rectangular compositions layer meaning, memories, and material. Painted and appliquéd geometric patterns on canvas call to decorative elements found in traditional Yemeni architecture, like tessellations and botanical motifs.

The artist’s series of never-before-seen qamariya paintings are evocative of the semicircular glass windows common in Sanaa, the nation’s capital—another key element of Yemen’s time-honored artisan practices. The Arabic term qamariya translates to “moon-like” or “of the moon,” echoing the glass structures’ half-moon shape and dynamic ability to transmit light.

Door to Life continues through June 20 at Tina Kim Gallery in New York. You can also flip through more works, which were previously compiled into a small publication that supplemented Abad’s initial Door to Life exhibition in 1999.

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With a stained glass window, light filters through to illuminate narrative scenes or geometric patterns, but it’s primarily the window itself that draws our attention. For Lesley Green of Bespoke Glass, these vibrant compositions certainly aren’t limited to these traditional apertures. “One of my personal obsessions is trying to convince people to hang glass on the wall instead of in the window, so you can really experience the pure color and texture of the glass,” she tells Colossal.

Bespoke Glass creates a wide range of aesthetic and functional forms, conceived for both residential and commercial interiors. Some are designed to be screens or separators, such as behind a bar or between tables in a restaurant. Others are more sculptural, such as her three-dimensional sculptures that project onto the wall when the sun shines through them, interacting with local shadows. This display method also highlights the inherent textures of the glass itself, from waves to ridges to mottled patterns.

Using a hand-cut, traditional copper foil method of creating the stained glass, Green has also innovated some studio-developed techniques to produce three-dimensional objects. “Craftsmanship is extremely important to me as well,” she says. “Precise cuts and especially smooth solder lines are part of everything my studio produces.”

All pieces are available to be commissioned in custom colorways, and Green is also working on larger-scale versions of the sculptural works, plus multiple-piece collections designed to installed on the wall. See more on Instagram.

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Riding the coattails—or perhaps it would be more apt to say the gown trails—of the monumental retrospective exhibition in 2023 in Paris at the Musée des Arts Décoratifs, the Brooklyn Museum is about to open the striking new edition of Iris van Herpen: Sculpting the Senses. Building upon the previous presentation’s emphasis on the way fashion meets art, this show also includes recent collections like Sympoeisis, reaffirming Iris van Herpen’s one-of-a-kind approach to sustainable, sculptural couture.

Van Herpen is known for her elaborate dresses that incorporate high-tech processes and materials, such as laser-cutting and Plexiglas, while also embracing the rhythms and patterns of biological and celestial realms. At this year’s Met Gala, for example, Olympic skier Eileen Gu arrived in a dress titled “Airu,” which was not only coated in plastic bubbles but also emitted real ones. In the “Living Algae” look from her 2025 Sympoeisis collection, van Herpen even incorporates real Pyrocystis lunula, a type of algae that forms a crescent shape and glows in the dark.

“Fascinated by the complexity of nature and the power of science, van Herpen transforms scientific concepts into visionary fashion,” says a statement. “Drawing from wide-ranging fields spanning mathematics, neuroscience, marine biology, paleontology, mycology, mineralogy, astronomy, and more, her haute couture designs seamlessly merge art, science, and technology—evoking the often unseen structures of nature, from coral reefs and branching systems of fungi to the vast patterns of planetary motion.”

Sculpting the Senses features more than 140 haute couture designs, plus the works of numerous artists like Kenny Nguyen, Wim Delvoye, Agostino Arrivabene, 目[Mé], Katsumata Chieko, Tara Donovan, and many others—several of whom have pieces in the Brooklyn Museum’s own collection. The experience is also complemented by a multi-sensory soundscape created by Dutch composer and music producer Salvador Breed.

The show opens on May 16 and continues through December 6 in Brooklyn. See more on van Herpen’s Instagram and YouTube.

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For a little more than two decades, Bavarian photographer Markus Brunetti has scoured Europe for its most impressive basilicas, monasteries, duomi, and other striking ecclesiastical landmarks. Working closely with collaborator Betty Schöner, with whom he travels around the continent in a firetruck that has been converted to a photo lab, the pair snap thousands of images of each structure in meter-by-meter detail, often over the course of several years.

Through a meticulous editing process that includes layering and arranging each shot into composite images, Brunetti creates precise, high-resolution views of the facades that we never experience in real life. Perspective is skewed so that the ornate temples and cathedrals’ entrances are perfectly straight. Rather than the oblique view we usually get—think of how tall structures look when viewed from the street, with their base appearing wider and the top growing gradually narrower—we’re confronted with a striking one-point perspective.

Brunetti’s current solo exhibition, Facades IV at Yossi Milo, highlights a selection of the artist’s recent portraits, several of which were completed in the last couple of years. “Roma, Basilica di San Pietro,” for example, was initiated in 2007. “Brunetti and Schöner returned to St. Peter’s Basilica seven times over nineteen years,” the gallery says. “With each survey, they grew closer to realizing this grand image—a particular challenge given that it is one of the largest and most visited churches in the world.”

Printed at an impressively large scale—up to seven-and-a-half feet tall—the photos venerate these buildings, many of which are centuries old. “The result exceeds the possibilities of any single photograph, even at the highest possible resolution, creating works that stand as monuments in and of themselves,” the gallery says.

Facades IV continues through June 20 in New York City.

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In ballpoint pen on found fragments of philosophical and historical texts, Habib Hajallie delves into the emotional realm of memory, connection, and loss. The Kent-based artist often celebrates Black cultural figures and beloved family members, along with examining his own personal experiences as a British man of Sierra Leonean and Lebanese heritage. In his current solo exhibition, Black & Blue at Larkin Durey, Hajallie grapples with the devastating stillbirth of his daughter and the “indescribable emotions that sit beneath language,” says the gallery.

For this show, the artist deliberately switched from using black ballpoint ink to blue. As he made these works, Hajallie also reflected on the loss of his sister four years ago. Using antique maps and snippets of philosophical and sociological writings, he portrays subtle sides of what the gallery describes as “an altered sense of self.” Figures, including several self-portraits, exude feelings of despair, confusion, numbness, care, and the nuanced emotions that emerge in-between.

“While this series is concerned with the internal landscape of loss and what it means to endure a profoundly altered reality, each artwork has acted as an invaluable step towards healing,” the gallery says. “By drawing directly onto antique texts that explore morality, purpose, and transcendence, Hajallie’s personal pain enters into a wider conversation about finding meaning and the ways in which drawing can become a space of solace and catharsis.”

Black & Blue continues through May 22 in London. See more on the artist’s Instagram.

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Dear readers,

In a collection of her published diary entries, Virgina Woolf wrote, “Thinking is my fighting.” This sentiment was a prominent theme in her 1940 essay, Thoughts on Peace In an Air Raid, in which the British writer framed the importance of individual thought as a crucial antidote to war and the rise of fascism.

I’ve been thinking a lot about Woolf’s quote and its relevance today, largely connected to discourse on education. While literacy rates in the U.S. continue to plummet, a soaring number of individuals are adopting habits antithetical to thinking—offloading even the smallest of cognitive tasks onto Chat GPT, doomscrolling for hours on social media, and numbing the mind with addictive “brain rot.” Critical thinking is being traded for passive acceptance and the death of curiosity—all in the name of efficiency and capital innovation. Our minds have become the new commodity.

In response to this, I’ve seen a clear cultural shift toward self-education. I, too, have been influenced by this new wave of autodidactic learning—personal curricula, digital detoxes, reading challenges, etc. While these are certainly more examples of internet trends worming their way into our algorithms, beneath them lies something deeper: a collective desire to reclaim our own thoughts.

At the same time, access to quality information and educational materials can be hard to find, whether those resources are locked behind the gates of inflated tuition costs, class fees, or online paywalls. For Colossal, accessibility has always been an ongoing commitment. Over the last 15 years and counting, every article, interview, and instructional aid on our site has remained completely free. Our team believes that the ability to learn about and enjoy art must be universally available.

“I’ve been using Colossal as my go-to source of art on the internet since 2012 when I was in high school. It’s been a pleasure watching it grow and keep up with the breadth and depth of the work being done in the art world.”

Jake F.

For years, members of this community have made us aware of how beneficial Colossal has been in their learning journeys. Educators of all ages have shared that they’ve introduced the website to their students, crafting complete lesson plans from our articles and glossary of art terms. I encountered Colossal for the first time in a classroom, and in another life where I taught elementary students art, it remained one of my most reliable tools.

Out of the classroom, learning persists, and we’ve been elated to hear many stories about how our daily doses of art allow readers to uncover something new everyday, gain more knowledge about contemporary art, and discover impactful stories that bring about change, connection, and hope.

Now more than ever, creative thought must be nurtured, protected, and free from barriers. Our mission to do this can only continue with you. Today, only 1% of Colossal readers financially support the work we do. Like many independent publications, our members are the cornerstone of our existence and ability to continue sharing art with the world.

We encourage you to join the Colossal community. Now is the time to spread creative ideas, revive curiosity, and defend the ability to think and learn imaginatively.

And as we celebrate teacher appreciation this month, we’d like to highlight our deeply discounted education membership, available to current students and educators (just shoot as a quick email and we’ll get you set up). Thank you for reading, sharing, and learning with us.

Gratefully,
Jackie Andres
Online editor, Colossal

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In Love Letters, Hilary Pecis captures the mundane moments and under-appreciated views of daily life. The Los Angeles-based artist presents a suite of new acrylic paintings in her signature saturated style, focusing on snippets of a backyard pool, the corner of a studio worktop, and a friendly picnic complete with a radiant strawberry cake.

Pecis prefers to work from photos and translates singular moments onto linen. Utilizing a uniform opacity in her paints, she incorporates both comparable and exaggerated colors and affords particular attention to texture and pattern. Frilly fronds on a plant, light radiating off the water’s surface, and the rough texture of a woven tablecloth each evidence the artist’s meticulous process.

Love Letters opens at David Kordansky Gallery in Los Angeles on May 16 and runs through June 20. Until then, explore more of Pecis’ work on Instagram.

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Despite its name, the Canadian Tuxedo is a distinctly American look. The denim-on-denim getup dates back to the 1950s, when Bing Crosby sported a full Levi’s ensemble while in Vancouver, setting a sartorial trend that continues today.

The national mythology woven into this utilitarian material is also the focus of Brooklyn-based Nick Doyle, who layers denim atop denim into large wall sculptures. From a pair of aviators reflecting puffy clouds to a vast Rocky Mountain landscape framed by brick, the works evoke a sort of nostalgic road trip west, as if chasing a big break, and ultimately, realizing the American dream.

For Doyle, denim is a poignant, loaded metaphor for much of American culture and history. The material has roots in chattel slavery, when people enslaved in the South were dyeing cotton with indigo. There’s also its association with the brusque masculinity of James Dean and cowboy ruggedness, itself an extension of the gold rush and Manifest Destiny. The fabric, in many ways, is a stand-in for the contradictions, hypocrisies, and unreachable desires so bound up in American life.

While researching the visual language of Americana in 2018, Doyle came upon a roll of denim discarded by a fashion designer moving out of his building. “At the time, I had no money, so I was making work out of material I found in the garbage or at my local hardware store,” he shares. “As I was pulling [the roll] out of the trash, I noticed a network of ideas connecting in my brain… I felt the material reflected the historical complexities I was seeing in my research, as well as being reflected in my own familial history.”

This encounter was one of those providential moments that set off an enduring fascination. In his solo exhibition Collective Hallucinations, on view at Perrotin, Doyle presents the latest of his denim sculptures, including stylized cacti, landscapes cordoned off by chainlink fences, and more mystical objects like tarot cards and a life-sized fortune teller’s shop.

The show contains myriad symbols of American exceptionalism and individualism, presented in the heritage fabric of the nation. Doyle shares:

Over the last few years, my conception of American mythology has only become more complex… I think in a lot of ways what we’re experiencing now is a breakdown of these mythologies. They are in direct conflict with the current political reality, yet they are summoned as if it is business as usual. The world’s image of America has changed, but our country’s nostalgia for itself is making us late to the party. There’s tragedy in vanity.

Collective Hallucinations presents these unrealized dreams and confrontations in varying shades of blue, rendering what appears to be individual moments as simply different washes of the same story.

In addition to his practice, Doyle will soon open the second iteration of a kink bar called Human Resources at Basel Social Club and is working toward a fall exhibition of paper collages and prints at Pace. If you’re in New York, Collective Hallucinations runs through May 30. Otherwise, find more on Instagram.

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Known for his stunning photos of wildlife and landscapes, as well as co-founding SeaLegacy alongside fellow conservationist and photographer Cristina Mittermeier, Paul Nicklen has traveled the globe to not only highlight our planet’s phenomenal biodiversity but also to shed light on its increasing vulnerabilities due to the ongoing climate crisis.

Nicklen’s most ambitious project yet gathers myriad images from a career exploring the corners of the earth for more than three decades. Forthcoming from Hemeria, Reverence marks the most comprehensive collection of his work to date. The book features 160 photographs, including some of Nicklen’s most enduring images alongside others previously unpublished.

From the root-like system of the Colorado River delta to narwhals feeding on cod in the Arctic Bay off Baffin Island, Nicklen’s photos illuminate the vast and resilient beauty of the natural world. “Reverence is what we feel in the silent presence of a whale beneath the ice, in the fierce gaze of a polar bear, in the timeless dance of ocean and light,” says a statement. “It is what the natural world evokes when we stop long enough to truly see it.”

Reverence is slated for release on July 28, which is also World Conservation Day, and pre-orders are open now.

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