InertiA ^^ posted a photo:

Une histoire bien triste que celle de ce petit château si noble et si beau, le temps n’épargne rien ni personne et il en est la preuve irréfutable...

Oyen Digital recently announced the U35 Bolt+ USB4 (80Gbps) portable SSD that makes some pretty lofty promises. Designed for speed and built to withstand the elements, Oyen says it delivers up to 6,000 MB/s transfer speeds. That would be the fastest PetaPixel has ever seen.

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Lexar has partnered with the Argentine Football Association ahead of this summer's World Cup to launch a storage collection range branded with the reigning champions' famous soccer jersey.

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In the statement for Annalise Gratovich’s solo exhibition, Carrying Things From Home, the gallery poses a couple of questions: “When war, displacement, and migration sever familial and cultural ties, how do we sustain a sense of self and ancestral connection? How do we hybridize in a new homeland?” For the artist, who is based in Austin and runs High Low Print Co., her family’s history informs a printmaking practice that explores deeply personal and even spiritual links to land, home, and a sense of belonging.

Hecho a Mano presents eight large-scale, hand-carved woodblock prints in Carrying Things From Home, which have been painstakingly created between 2014 and 2025. Gratovich meticulously carves totemic, matryoshka-like figures that stand nearly life-size with headdresses of flora and fauna and garments that resemble embroidered Ukrainian textiles.

The series taps into Gratovich’s ancestral history, nodding to the tumult of World War II when her grandparents fled Ukraine in the cover of night with their son—the artist’s father—and could only take what they could physically carry. “What was lost or left behind has become a source of mystery and mythology, and through printmaking, I investigate how this absence influences my sense of self and how I value materiality,” she says.

The blocks themselves can take up to six months to carve, and then working with her team, Gratovich adds thin pieces of colorful paper through chine collé. “For my most recent works in the series, ‘The Healer’ and ‘The Fool,’ I prepared close to 2,000 pieces of paper,” she says. “They have 69 and 70 pieces of hand dyed paper coloring each woodcut, respectively.”

Gratovich’s serene figures coalesce with nature and symbolic objects, such as musical instruments and animals, reflected in titles like “The Builder,” who holds a raptor, and “The Healer,” who balances a swirling, cosmic flow of energy. And from carved block to expansive print, the process requires precision and a few helping hands. “There’s a community aspect that’s engaging and fun—my big woodcuts require a team of four people to print,” the artist tells Colossal. “We use a printing press that is over four by eight feet, and everyone is integral in the printing process.”

Carrying Things From Home continues through June 28 in Santa Fe. Gratovich is also preparing for a residency at Hello Print Friend Studios in Chang Mai, Thailand, after which she’ll be the keynote speaker at the Guild of Bookworkers’ Standards of Excellence 2026 conference. That takes place in Austin, where she also has a studio at the Canopy Austin complex, which is open by appointment. See more on the artist’s Instagram.

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 Annalise Gratovich’s Life-Size Woodcuts Meld Nature, Memory, and Ukrainian Heritage appeared first on Colossal.

Jason Mitcham’s childhood home in Greensboro, North Carolina, is no longer standing. In 2011, the local government seized the house and the land he grew up on via eminent domain to widen what was then High Point Road into what’s now Gate City Boulevard. Mitcham last saw the site in 2023, when a paved highway blanketed where the neighborhood once stood, and fragments of garages and barns still marked the landscape.

To memorialize this beloved landmark, Mitcham hand-painted “Ever Behind the Sunset,” a touching stop-motion film that combines a series of expressive compositions with audio from the artist’s mother and his own home videos taken throughout the 1980s. Panels of thick, gestural brushstrokes animate a story of loss, grief, and remembrance as if viewed through a dreamlike haze.

Mitcham shares that the film reflects a series of compounding devastations, both personal and local: “the collapse of my father’s civil engineering and land-surveying firm after the 2008 housing crisis, my parents’ bankruptcy, his death, followed by my mother’s, and the community’s fight against the commercial development that would permanently alter their neighborhood.”

It’s worth watching the behind-the-scenes video that shares more of the artist’s process and thinking. Explore an archive of his films and works on canvas on his website and Instagram. You might also like the paintings of Jeremy Miranda.

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 Painted by Hand, a Stop-Motion Film Eulogizes a Lost Childhood Home appeared first on Colossal.