“To me, being a visual activist means I only illustrate stories that resonate with me deeply, by giving voice to minorities or social situations that need to be addressed,” says Fatinha Ramos. “It is the only way I can truly connect with others.”

Based in Antwerp, the Portuguese artist and illustrator is well-known for blending analog and digital techniques to create rich, emotive compositions. Collaborating with clients like The New York Times, The Washington Post, Tate, and Scientific American, among many others, Ramos has cultivated a keen eye for storytelling through her distinctive visual language.

Recent partnerships include the Anne Frank Museum and MoMA, the latter of which commissioned the artist to illustrate an essay on her experience being compared to Frida Kahlo. Ramos was born with osteogenesis imperfecta, commonly called brittle bone disease, which spurred a childhood spent in and out of hospitals. Drawing and art-making quickly became a preferred pastime, allowing her to transport herself from such clinical settings.

This adolescent hobby stuck, and Ramos worked as an art director in advertising and publishing for 12 years before venturing out on her own. Boasting an impressive list of clients and collaborators, she considers her practice to be an antidote to stereotypical narratives, whether related to the climate crisis, sexism, racism, or the dire lack of empathy that seems rampant in today’s world.

“I want to move away from the narrative that turns artists with disabilities into symbols of resilience,” she tells MoMA. “Creativity does not happen despite limitations but through them. Art should broaden how we see the world—and that includes how we see bodies, too.”

At the moment, Ramos is only accepting select illustration clients as she focuses on her fine art practice, including a series of anatomical glass sculptures based on brittle bone disease. You can explore more of her practice on her website and Instagram.

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Typically gravitating toward dreamy palettes of soft blues, grays, and oranges, Scottish artist Andrew McIntosh opts for a sanguine red in a new body of work. The crimson paintings continue McIntosh’s otherworldly landscapes that cast familiar forms like mountains and valleys in a strange, uncanny light. Glowing orbs float among the craggy terrain and veil the scenes in mystery.

“These works sit somewhere between memory and invention—familiar landscapes interrupted by something I don’t fully understand,” the artist says.

On view at School Gallery, these bold pieces comprise the artist’s solo exhibition, I Hope This Transmission Finds You Soon. Evoking alien communication and the unknowns that surround us, even in recognizable spaces, the show draws on Cormac McCarthy’s 1985 novel Blood Meridian, a Gothic Western rife with violence and an unyielding desire for dominance.

The gallery offers insight into the exhibition with an apt quote from the book:

The truth about the world … is that anything is possible. Had you not seen it all from birth and thereby bled it of its strangeness it would appear to you for what it is, a hat trick in a medicine show, a fevered dream, a trance be populate with chimeras having neither analogue nor precedent, an itinerant carnival, a migratory tent show whose ultimate destination after many a pitch in many a mudded field is unspeakable and calamitous beyond reckoning.

I Hope This Transmission Finds You Soon is on view through May 30 in Folkestone, U.K. Find more from McIntosh on Instagram.

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For Olaf Hajek, difference isn’t about opposition but rather about identifying connections. The Berlin-based illustrator renders dense, uncanny compositions that nod to Surrealist icons like Leonora Carrington and Remedios Varo. Nature and culture entwine, and magic and mystery veil each scene. These dreamlike moments of intrigue ask the viewer to suspend preconceived notions and instead, enjoy the allure of the ambiguous.

Hajek is an avid traveler and cultural consumer, offering him a vast repository of images from a variety of sources and locales. Folklore, vernacular traditions, spiritual practices, and natural motifs blend into a distinguishable aesthetic. “What interests me is not so much their differences, but the connections between them—the possibility of developing a universal visual language by bringing diverse influences together. This blending becomes a way of transcending cultural boundaries and revealing something shared and timeless,” he says.

Ambiguity is a central point of Hajek’s practice, emerging technically through superimposed florals and figures, dramatic shifts in scale, and a tension between decay and renewal. Gender and conceptions of masculinity, in particular, are depicted with a sense of softness and fluidity, particularly through symbolic, botanical motifs in vibrant color.

Hajek works in parallel, if not complementary, practices, sketching and painting on paper in a looser, more reflexive manner. “I embrace the unexpected—how colors interact, how forms dissolve into one another, and how compositions evolve organically. Especially in works on paper, intuition plays a central role; they feel more immediate, almost like a direct dialogue with the moment,” he tells Colossal.

Shifting to the canvas, though, requires a clearer vision, and the two approaches are an essential pairing in his practice. “They are part of the same artistic process, which constantly moves between intention and surprise, between structure and freedom,” he says.

Hajek is participating in several upcoming exhibitions, including a group show at Feinkunst Krüger in Hamburg and two solo presentations at Museum Franz Xaver Stahl in Erding and Kaplan Projects in Palma de Mallorca. Until then, find more of his work on Instagram.

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What is prison for? Touted as both a means of punishment and correction, the U.S. carceral system rarely succeeds at the latter. According to the Department of Justice, more than 650,000 people are released from prison annually, with two-thirds being arrested again within three years. Rehabilitation is the purported justification for locking away more of our residents than most other nations, but clearly, the punitive system seldom accomplishes this goal.

A new film by writer Marvin Wade and animator Evan Bode juxtaposes the counterproductive forces of the carceral system with the programs, resources, and true determination that make change possible. Presented by The New York Times‘ Opinion section, “Prison and Time” details Wade’s experience while incarcerated and how, despite the system’s rules and the whims of correctional officers, he was able to obtain his GED, learn to facilitate conflict resolution, and discover his love for writing. Time, for Wade, was the critical support he needed to gain perspective, while the system he found himself ensnared by focused on dehumanization and retribution.

For his part, Bode animated a dark, dizzying visualization that evokes the bleak and claustrophobic conditions of a prison cell and the lives it both conceals and actively thwarts. The scenes rendered in watercolor and marker appear as blips within the larger narrative, an apt material metaphor that moves the viewer throughout the film like a ticking clock. A making-of video highlights this painstaking process.

Bode and Wade met through Project Mend, a journal featuring the work of creatives impacted by the carceral system published through Syracuse University. “Mend is a very small, tight-knit group doing extraordinary things with a lot of love,” Bode says. “Last year, [the project’s founder] Patrick W. Berry presented me with some texts published in Mend for me to consider animating, one of which was Marvin Wade’s brilliant essay, ‘Time and Prison: Are They Mutually Exclusive?‘”

The two teamed up, with Wade narrating and Bode animating. Together, they create a captivating portal into Wade’s life at a particularly vulnerable and transformative time. “I believe the purpose of an artist is to move the crowd,” he writes about the film. “And my hope is that everyone watching our film will be moved in some way.”

Project Mend has tapped Bode for further collaborations, including an animated film paired with the poem “Man Skin Boy Mask” by José Angel Perez. Keep an eye out for its release on Vimeo.

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Photography is often touted as the most democratic and accessible medium in the visual arts. Today, the majority of us carry phones equipped with powerful, easy-to-use cameras that capture our lives and the world around us, transforming each of us into a documentarian at a moment’s notice. This omnipresence shapes our understanding of art and culture and often serves as a critical tool for political and social change.

The same is true for a forthcoming exhibition at the Mississippi Museum of Art. Photography and the Black Arts Movement, 1955-1985 transports viewers to the mid-20th century, when the medium rose to prominence not only for artists but also for organizers, activists, and cultural icons. Featuring works by more than 100 photographers, the expansive exhibition ranges from editorial and commercial commissions to self-portraits and mixed-media social critiques. Many of the works push back against the state-sanctioned racism of the Jim Crow era and highlight the acts of protest that emerged from such discrimination.

Included is a graphic collage by Ralph Arnold titled “Above This Earth, Games, Games” that splices cut-outs of football matches with images of war and destruction. Taken that same year, 1968, was Ernest Withers’s captivating shot of Memphis sanitation workers picketing following the death of two employees. Creating a visual wall of signs declaring “I Am A Man,” the strikers in suits and hats demand both better working conditions and dignity and respect.

Cultural touchstones like the enigmatic musician and philosopher Sun Ra also appear. In a dynamic, black-and-white photo by Ming Smith, the jazz leader spins in front of the band, his glittering garb appearing like a halo of brilliant sparks.

Exhibition curators contextualize the show in a quote from Julian Bond, a civil rights leader who helped establish the Student Nonviolent Coordinating Committee: “Pictures told, for those who could not see themselves, of the strength and beauty of the people, of the hostility and anger of the opposition, and of the promise of a world free of racism.”

Photography and the Black Arts Movement, 1955-1985 is on view from July 25 to November 8 in Jackson.

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Although James Reka finds total freedom in his studio practice, it’s public art that he gravitates toward. The Australia-born artist researches the history of a building or neighborhood as he conceptualizes a mural and enjoys the constraints of creating within a particular geographic and cultural context.

“Public art needs to connect with the local community,” he says. “It does need to have a narrative or a message, even if it’s very subtle. I am mindful of this and choose to view it as a challenge to explore certain themes and color combinations that my studio work does not.”

Reka renders minimalist shapes into dense compositions with a distinctive sense of vitality and movement. The largely geometric depictions draw attention to the color palettes and layerings, which the artist builds up through contrasting hues that delineate a hand or face. Architectural details like windows or piping play a role, too, and are incorporated into the final piece.

While the studio and street require different approaches, Reka finds that all of his work has trended toward abstraction in recent years. “I was actually never very good at painting or drawing realistic things!” he says. “Maybe subconsciously, I acknowledged my strengths and weaknesses at an early stage in my art career.” In describing his process, he adds:

I often start by drawing proportionally correct figures before stripping them back to the rawest form or most simplified version. Through sketching, happy accidents occur, which often help me direct the content or composition. Certain lines tend to stand out for me to then manipulate and abstract further. Eventually, this process is ripping the content apart and then rebuilding its core elements in an abstract way.

Reka is currently preparing for a solo show this fall in his hometown of Melbourne. Keep up with his projects in and out of the studio on Instagram.

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Given the heat generated during firing, it’s rare to see paper incorporated into a ceramics practice. For Seoul-based artist Jongjin Park, though, the two go hand-in-hand.

Park recently won the 2026 Loewe Craft Prize, a prestigious annual award celebrating innovative makers, for his striking sculpture “Strata of Illusion.” A rectangular shape with an open top and slouching side, the piece features countless folded layers made from paper towels dipped in watered-down ceramic slip.

Inspired by the distinctive, rippled textures and minuscule lines within stacks of paper, Park “wanted to break through the traditional boundaries and stereotypes inherent in ceramics as a medium,” he tells Colossal. “To do this, I began experimenting with alternative materials other than clay, searching for a meaningful intersection.”

Standard paper towels were a natural fit, but they didn’t come without challenges. “Because the process required firing massive amounts of paper, I had to overcome both technical and ethical hurdles regarding the combustion and disappearance of the paper,” he says. “I strictly use recycled paper made from repurposed milk cartons, and technically, I utilize specialized kilns equipped with high chimneys to manage the exhaust.”

There were also conceptual challenges that Park addressed through reframing how he thought about the material, particularly its malleability when drenched and slippery. “In my practice, this pre-fired state is not viewed as ‘fragile’—the way traditional unfired ceramics are commonly perceived—but rather redefined as a ‘flexible’ state where patterns, forms, and colors can be actively manipulated,” he shares, adding that finding the balance between strength and elasticity was the most difficult part of the experimental process.

Layers, for Park, are both apt metaphors for the passage of time and a material illusion. “When hundreds or thousands of these sheets are stacked together, they withstand the intense heat of the kiln and acquire a solid, monumental permanence, akin to natural rock formations or geological strata,” he says. “I am deeply drawn to this visual and conceptual tension, where seemingly opposing values—thinness and density, flexibility and rigidity—coexist harmoniously within a single structure.”

In addition to his studio practice, Park is a professor in Craft & Collectible Design at Seoul Women’s University. Peek into his process in this video, and find more of his work on Instagram.

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A few miles northwest of Downtown Los Angeles and Skid Row, St. Vincent Medical Center is considered one of the city’s most historical hospitals, having supported Angelenos since the 19th century. Vacant since 2020, the center is slated to become a full-service campus aimed at supporting people with addiction, mental health concerns, housing insecurity, and more. This transformation will begin in the next few months with a final target opening date in 2028 and a wholesale takeover in the meantime.

Through July 31, visitors experience an alternative vision for communal healing, all through the lens of 70 artists. Dubbed the Hospital of Emotions, the pop-up exhibition converts 80 rooms into temporary installations based on eight themes: joy, love, fear, anger, hope, sadness, compassion, and resilience. Among the participating artists are Lisa Waud, whose lush florals spill across an operating room, and Greg Corbino, who built a barren forest from cardboard.

Whatever you might feel in a medical setting is cast in immersive, mixed-media artworks, creatively tapping into the strange, exhilarating, and terrifying experience of being human. “Hospital of Emotions begins with the space itself. A hospital is where we confront fear, but also recognize what matters. Here, the building becomes a journey through human emotion—shifting the focus from treating the body to experiencing and processing emotion,” say exhibition curators from the studio House of Art and Dreams.

More than 10,000 visitors explored the hospital opening weekend, and several weekends are already sold out. Get your tickets and learn more about the project on its website.

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“We live with so many hard things,” says Sheila Hicks, “that we’re crying for softness.” The pleasure, simplicity, and tactile qualities of textiles ground a new film from Louisiana Channel, which explores the ways in which fiber art remains both evocative and relevant in this increasingly digital era.

“7 Artists on Soft Sculptures” weaves together a variety of distinct approaches to textiles. Nick Cave describes incorporating found plastics, toys, metals, fringe, and more into elaborate suits that mask the wearer’s identity, while Icelandic artist Shoplifter shares her obsessions with brightly dyed synthetic hair, which she transforms into immersive installations.

And Kaarina Kaikkonen offers her deeply personal reason for incorporating used clothing into her large-scale installations: “When I was 14, after my father’s death, I wanted to wear his clothes,” she says. “I felt very strongly that my father is near me if I wear his clothes.” This invisible presence continues to inform her work, offering a connection to people and times passed.

Louisiana Channel hosts a trove of videos featuring artists, writers, and designers, including earlier studio visits with Shiota and Shoplifter, on Vimeo.

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Hieu Chau compares his dense, dynamic compositions to his always active mind. Playing with scale and proportion, the Vietnamese artist renders surreal scenes in which flora and fauna converge and figures interact with the outside world as if in a dream. Chau, who was trained as a painter, now works digitally, although his pieces capture the grainy textures and gestures of a physical medium.

The artist recently published a book collecting his projects from the last decade, and you can find explore an archive of these pieces on Instagram.

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For the 13th edition of Design Shanghai, Hu Yuehua presented a bold bouquet intersecting organic forms and human craft traditions. “Weaving Nature” is a large-scale composition of indigo and ochre leaves, blooms, and growths stitched together from dyed cotton and linen. Tightly nested in a wall-like garden, the individual pieces form a dense field of color and texture. Loose threads, raw edges, and tight rows of pleats radiate across the upright piece, merging evidence of the artist’s hand with the natural forms she depicts.

Design Shanghai concluded last week, but you can see more of the projects on display at the annual event on its website.

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As with most conversations about money, understanding how artists fund their practices and lives is rarely discussed and always of intrigue. Mason Currey dives into this underexplored topic in his new book Making Art and Making a Living: Adventures in Funding a Creative Life.

Currey is known for documenting the day-to-day routines of hundreds of artists, writers, filmmakers, designers, musicians, and more. Making Art and Making a Living is in the same vein, revealing how family money, day jobs, schemes, and more have buoyed artists through the ages.

​In partnership with EXPO Chicago and the Chicago Athletic Association, we’re thrilled to celebrate the launch of Currey’s new book. Join us on April 8 for a discussion and signing by the author. Tickets include a hardcover copy, and Colossal Members receive $10 off with the code in their account.

Find Making Art and Making a Living in the Colossal Shop, and register for the event to save your seat.

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