Moss, Pine Bark, and Roots Camouflage Tiny Refuges Among the Wild Swedish Forests and Farmland

“Moss Hut.” All images © Ulf Mejergren, shared with permission

Artist and architect Ulf Mejergren (previously) continues his interest in cozy, outdoor constructions with a new series titled Farm Art. Collaborating with farmer Robert Pettersson, Mejergren built several site-specific structures from materials found around Pettersson’s property in Grödinge, Sweden.

For “Pine Bark Hut,” the pair layered thick, gnarly wood into a slender cabin camouflaged between two trees, a space first used for hunting and then storing tools. Similarly, “Root Hut” entwines gathered branches with the existing roots to create a small, sand pit enclosure nestled beneath the forest, while the circular “Moss Hut” stands 4.5 meters tall among the trees. The latter work “stems from the farmers’ hunting interest,” Mejergren writes. “For many years, he has put food at certain points in the forests so wild boars come to feed there. The problem is they are like bulldozers in the forests, looking for insects and roots in the soil, so they have dug up moss from the forest floor and left them scattered in big droves.” Cloaked in the remaining lichen, the structure is a disguised refuge among the wild landscape.

Other works in Farm Art are more aesthetically driven, like the vivid “Sunset.” Made of dandelion heads at full bloom, the spherical form appears to glow in a field of weeds and wildflowers. Find the full series on Mejergren’s site and Instagram.

“Pine Bark Hut”

“Sunset”

Detail of “Moss Hut”

“Sunset”

“Root Hut”

“Hay House”

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Introspective Figures Navigate Surreal Worlds in Simón Prades’ Illustrations

All images © Simón Prades, shared with permission

Stories come to life on the page and introspective figures explore inner worlds in the dreamlike illustrations of Simón Prades (previously). His surreal scenes often feature silhouettes of people peering into the unknown, whether toward a distant memory, the wilderness, or the future. Rendered in deep hues with an emphasis on the effects of light and contrast, he draws attention to human nature and universal, emotional experiences of hope, nostalgia, and wonder.

Prades has worked as a freelance illustrator for more than ten years, finding visual language to express ideas in editorial and book publishing, film, music, and advertising. His clients have included The New York Times, Penguin Random House, Scientific American, and many more. “While I still love solving problems for clients, I must say that the urge to work on more personal projects has been growing and might manifest in a book or something like that soon,” he tells Colossal.

Prades is looking forward to a project next year that merges illustration with his other passion, cycling. During a 10-day tour through the Pyrenees, he plans to capture the experience in his sketchbook. Explore more of his work on his website and Behance, and follow updates on Instagram.

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Contemplative Women Emerge Through Subtle Grids in Stelios Pupet’s Paintings

“Les murmures du jardin,” oil on canvas, 200 x 200 centimeters. Photo by Auryn F. All images © Stelios Pupet, shared with permission

Whether working on a wall or canvas, artist Stelios Pupet begins with a grid. What starts as uniform blocks slowly morph into varied, angular shapes as he works, adding depth and structure to his largely figurative compositions. Viewed through the subtle distortion of the grid, his subjects are often crouching amid cacti and potted plants or curled into themselves in moments of contemplation. He describes his process:

I am focusing on creating a nice image, different or contemporary and easy on the eye. Sometimes, there is a personal story behind a canvas or a painting on a wall that makes the artwork more powerful or important (to me at least)…I believe that if you give everything in the creation of an artwork, somehow a part of you is captured and in this way, feelings are being created (for) the viewer.

Following a busy few months of working on murals across Europe, Pupet is currently creating a small piece in a park near his home in Athens. Follow his progress on Instagram.

“Amongst Greenery,” oil on canvas, 120 x 120 centimeters

Detail of “Les murmures du jardin,” oil on canvas, 200 x 200 centimeters

“MR Tlaloc,” Athens. Photo by Dimitris Maniatis

“Amidst the Cacti,” Zaragoza, Spain. Photo by Marcos Cebrián

Remake of the Jean Auguste Dominique Ingres painting, “Portrait of Madamme Gaudry” (1864), acrylic and crayons on canvas , 40 x 40 centimeters

“Solitude of Contemplation,” Antonis Tritsis Metropolitan Park, Athens

Study for the canvas “They keep coming,” gouache on paper, 25 x 18 centimeters

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Olga Prinku Grafts Blooms and Branches Into Expansive Embroideries

All images © Olga Prinku, shared with permission

Using a vibrant array of real flowers and foliage, North Yorkshire-based artist Olga Prinku (previously) designs intricate embroideries that explode with natural colors and textures. The artist embraces experimentation at a large scale, challenging the traditionally more intimate surfaces of embroidery.

In addition to blooms and leaves, Prinku has recently focused on branches in a new series called Graft. Using primarily silver birch, she describes the works as “a reference to the horticultural process of transferring twigs from one setting to another but also a nod to the slang meaning of ‘hard work’—it takes a lot of time and patience!”

Prinku’s embroideries are currently on view in a group exhibition at Contemporary Applied Arts in London through November 18, and a piece selected for the SCAF Emerging Artist Award is on view until January at Lawrence Batley Theatre Gallery. She is currently working toward a major exhibition for Hidcote in the Cotswolds next year. Find more on her website, and follow her on Instagram for updates.

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An Arresting Optic Nerve Tops the 2023 Nikon Small World Photomicrography Competition

Hassanain Qambari and Jayden Dickson, rodent optic nerve head showing astrocytes (yellow), contractile proteins (red), and retinal vasculature (green). All images courtesy of Nikon Small World Photomicrography Competition, shared with permission

One in five people with diabetes also suffers from retinopathy, a disease causing vision loss and blindness. Problems occur when high blood sugar causes cells to swell and leak, damaging the retina. Because symptoms aren’t always perceptible at early stages, though, many people aren’t diagnosed until the condition has already progressed.

Researchers like Hassanain Qambari and Jayden Dickson have been working toward visualizing the initial signs of retinopathy to aid in early detection, which they recently achieved in an electrifying image that won the 2023 Nikon Small World Photomicrography Competition. A starburst-like web of red and yellow fibers sprawl across the frame, which magnifies the intricacies of a rodent’s optic nerve and offers insight into its function. “The visual system is a complex and highly specialized organ, with even relatively minor perturbations to the retinal circulation able to cause devastating vision loss,” Qambari said. “I entered the competition as a way to showcase the complexity of retinal microcirculation.”

Other submissions to the 49th-annual contest include the venomous fangs of a tarantula, gelatinous slime molds, and spiky sunflower pollen stuck to an acupuncture needle. The 2023 competition garnered nearly 1,900 submissions from 72 countries, and you can see all of the winners on Nikon. It’s also worth taking a peek at the video segment of this year’s contest, which includes striking footage of neurons forming in an embryo.

Sébastien Malo, crab spider (Thomisus onustus)

Dr. Pichaya Lertvilai, coral (Acropora granulosa) fluorescing under blue light

John-Oliver Dum, venomous fangs of a small tarantula

John-Oliver Dum, sunflower pollen on an acupuncture needle

Malgorzata Lisowska, breast cancer cells

Raghuram Annadana, developing stamen and stigma inside a Hibiscus flower bud

Timothy Boomer, slime mold (Comatricha nigra) showing capillitial fibers through its translucent peridium

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An Ambitious Series of Portraits by Uli Westphal Captures the Character of Every Edible Plant Seed

Top row, left to right: Aronia melanocarpia (black chokeberry), Atriplex hortensis (orache), and Avena sativa (oat). Second row: Averrhoa carambola (star fruit), Basella alba (malabar spinach), and Beta vulgaris (beet root). Third row: Betula pendula (birch), Borago officinalis (borage), and Brassica juncea (brown mustard). Bottom row: Brassica oleracea (cabbage), Cajanus cajan (pigeon pea), and Calendula officinalis (marigold). All images © Uli Westphal, shared with permission

From the fuzzy casing of the levant cotton seed to the speckled scarlet runner bean to the star-shaped pod of the aptly named star anise, the minuscule sources of the world’s edible plants take center stage in photographer Uli Westphal’s newest project. Fascinated by food systems (previously) and the myriad ways we have adapted botanicals to our needs, the artist showcases the phenomenal diversity of plants, or in this case, their tiny origins. In the ongoing Seeds series, he creates a collective portrait of all edible plants, capturing incredible textures and colors in micro-photographic detail.

While other projects include amassing large quantities of produce, he started focusing on a collection of crop seeds during the pandemic, many of which he accumulated over the years. Currently, he has about 400 species, with a shortlist of 3,000 considered highly edible. Varying in shape, size, color, and texture, the specimens require a setup that allows Westphal to capture every minute characteristic.

Carica papaya (papaya)

Because the seeds are often so tiny they’re impossible to capture with traditional camera lenses, Westphal added high-resolving microscope objectives—the magnifying part of the microscope lens closest to the object—to his camera. The objectives have an extremely shallow depth of field, so he built a machine that moves the camera a few micrometers at a time, allowing him to take hundreds of images of each seed. These individual shots are used to create one composite image in which the entire seed is in focus.”It’s a time consuming but rewarding process that reveals a world that would otherwise remain invisible to the naked eye,” he says.

Westphal considers this body of work, in addition to others like the Cultivar Series, “infinite projects that I intend to pursue and expand for as long as I’m around…I believe we need this knowledge to raise awareness, celebrate, and safeguard this botanic cornucopia.”

If you’re in The Netherlands, you can see some of the images in the exhibition Spacefarming at the Evoluon in Eindhoven, which continues through March 2024. Westphal is currently working on a project site to accompany the series, but in the meantime, you can explore some of his other projects on his website, and follow updates on Instagram.

Illicium verum (star anise)

Top row, left to right: Opuntia ficus indica (prickly pear), Origanum vulgare (oregano), and Oryza sativa (rice). Middle row: Panicum miliaceum (millet), Papaver somniferum (bread seed poppy), and Passiflora edulis (maracuja). Bottom row: Passiflora quadrangularis (giant granadilla), Pastinaca sativa (parsnip), and Pennisetum americanum (pearl millet)

Centaurea cyanus (cornflower)

Cucurbita ficifoli (fig leaf gourd)

Gossypium herbaceum (levant cotton)

Elettaria cardamomum (kardamon)

Ribes rubrum (redcurrant)

Phaseolus coccineus (scarlet runner bean)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article An Ambitious Series of Portraits by Uli Westphal Captures the Character of Every Edible Plant Seed appeared first on Colossal.

An Ambitious Series of Portraits by Uli Westphal Captures the Character of Every Edible Plant Seed

Top row, left to right: Aronia melanocarpia (black chokeberry), Atriplex hortensis (orache), and Avena sativa (oat). Second row: Averrhoa carambola (star fruit), Basella alba (malabar spinach), and Beta vulgaris (beet root). Third row: Betula pendula (birch), Borago officinalis (borage), and Brassica juncea (brown mustard). Bottom row: Brassica oleracea (cabbage), Cajanus cajan (pigeon pea), and Calendula officinalis (marigold). All images © Uli Westphal, shared with permission

From the fuzzy casing of the levant cotton seed to the speckled scarlet runner bean to the star-shaped pod of the aptly named star anise, the minuscule sources of the world’s edible plants take center stage in photographer Uli Westphal’s newest project. Fascinated by food systems (previously) and the myriad ways we have adapted botanicals to our needs, the artist showcases the phenomenal diversity of plants, or in this case, their tiny origins. In the ongoing Seeds series, he creates a collective portrait of all edible plants, capturing incredible textures and colors in micro-photographic detail.

While other projects include amassing large quantities of produce, he started focusing on a collection of crop seeds during the pandemic, many of which he accumulated over the years. Currently, he has about 400 species, with a shortlist of 3,000 considered highly edible. Varying in shape, size, color, and texture, the specimens require a setup that allows Westphal to capture every minute characteristic.

Carica papaya (papaya)

Because the seeds are often so tiny they’re impossible to capture with traditional camera lenses, Westphal added high-resolving microscope objectives—the magnifying part of the microscope lens closest to the object—to his camera. The objectives have an extremely shallow depth of field, so he built a machine that moves the camera a few micrometers at a time, allowing him to take hundreds of images of each seed. These individual shots are used to create one composite image in which the entire seed is in focus.”It’s a time consuming but rewarding process that reveals a world that would otherwise remain invisible to the naked eye,” he says.

Westphal considers this body of work, in addition to others like the Cultivar Series, “infinite projects that I intend to pursue and expand for as long as I’m around…I believe we need this knowledge to raise awareness, celebrate, and safeguard this botanic cornucopia.”

If you’re in The Netherlands, you can see some of the images in the exhibition Spacefarming at the Evoluon in Eindhoven, which continues through March 2024. Westphal is currently working on a project site to accompany the series, but in the meantime, you can explore some of his other projects on his website, and follow updates on Instagram.

Illicium verum (star anise)

Top row, left to right: Opuntia ficus indica (prickly pear), Origanum vulgare (oregano), and Oryza sativa (rice). Middle row: Panicum miliaceum (millet), Papaver somniferum (bread seed poppy), and Passiflora edulis (maracuja). Bottom row: Passiflora quadrangularis (giant granadilla), Pastinaca sativa (parsnip), and Pennisetum americanum (pearl millet)

Centaurea cyanus (cornflower)

Cucurbita ficifoli (fig leaf gourd)

Gossypium herbaceum (levant cotton)

Elettaria cardamomum (kardamon)

Ribes rubrum (redcurrant)

Phaseolus coccineus (scarlet runner bean)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article An Ambitious Series of Portraits by Uli Westphal Captures the Character of Every Edible Plant Seed appeared first on Colossal.

Ikebana Connects Creative Traditions in ‘Common Ground,’ a Ceramic Project Tying People Together Through Earthen Materials

“Massachusetts.” Photo by Joshua White. All images courtesy of Inventory Press, shared with permission

“Before there was America the country, or the individual states and the ensuing territorial identities and resulting politics, there was the land that America occupies,” writes artist Adam Silverman about Common Ground. Born in 2019, the ongoing project is ambitious and optimistic, seeking to connect people separated by ideology, geography, and culture through the shared land we occupy.

While its goal is lofty, the premise of Common Ground is simple: Silverman harvests clay, water, and wood ash from all 50 states, Washington, D.C., and the five occupied U.S. territories—Puerto Rico, the U.S. Virgin Islands, Guam, American Samoa, and Northern Mariana Islands—and then blends the materials together so that the substances and their origins are indistinguishable. That mixture is the basis of the artist’s ceramic vessels, which encompass two series of tableware and ceremonial pots. He explains about the latter: “The forms are not subtle, and although they stand on strong feet or foundations, they are battered, scarred, leaning over, showing the processes that got them here. The tops are open, symbolically ready to receive.”

A new book published by Inventory Press celebrates Silverman’s ceremonial pots, which are paired with sweeping arrangements made by ikebana students and teachers. Common Ground: Adam Silverman + Sogetsu Ikebana Los Angeles documents the artist’s process and explores the impulse behind the project, particularly as it bridges American and Japanese making traditions. Spreads are full of diagrams explaining differences in materials, images of Silverman collecting and preparing his substances, and photos of the completed collaborative works that show myriad Ikebana creations emerging from the vessels.

Common Ground: Adam Silverman + Sogetsu Ikebana Los Angeles is currently available from Bookshop, and you can explore more of the project on its site.

“Maryland.” Photo by Joshua White

“Pennsylvania.” Photo by Joshua White

“Louisianna.” Photo by Joshua White

“West Virginia.” Photo by Joshua White

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Ikebana Connects Creative Traditions in ‘Common Ground,’ a Ceramic Project Tying People Together Through Earthen Materials appeared first on Colossal.

Ikebana Connects Creative Traditions in ‘Common Ground,’ a Ceramic Project Tying People Together Through Earthen Materials

“Massachusetts.” Photo by Joshua White. All images courtesy of Inventory Press, shared with permission

“Before there was America the country, or the individual states and the ensuing territorial identities and resulting politics, there was the land that America occupies,” writes artist Adam Silverman about Common Ground. Born in 2019, the ongoing project is ambitious and optimistic, seeking to connect people separated by ideology, geography, and culture through the shared land we occupy.

While its goal is lofty, the premise of Common Ground is simple: Silverman harvests clay, water, and wood ash from all 50 states, Washington, D.C., and the five occupied U.S. territories—Puerto Rico, the U.S. Virgin Islands, Guam, American Samoa, and Northern Mariana Islands—and then blends the materials together so that the substances and their origins are indistinguishable. That mixture is the basis of the artist’s ceramic vessels, which encompass two series of tableware and ceremonial pots. He explains about the latter: “The forms are not subtle, and although they stand on strong feet or foundations, they are battered, scarred, leaning over, showing the processes that got them here. The tops are open, symbolically ready to receive.”

A new book published by Inventory Press celebrates Silverman’s ceremonial pots, which are paired with sweeping arrangements made by ikebana students and teachers. Common Ground: Adam Silverman + Sogetsu Ikebana Los Angeles documents the artist’s process and explores the impulse behind the project, particularly as it bridges American and Japanese making traditions. Spreads are full of diagrams explaining differences in materials, images of Silverman collecting and preparing his substances, and photos of the completed collaborative works that show myriad Ikebana creations emerging from the vessels.

Common Ground: Adam Silverman + Sogetsu Ikebana Los Angeles is currently available from Bookshop, and you can explore more of the project on its site.

“Maryland.” Photo by Joshua White

“Pennsylvania.” Photo by Joshua White

“Louisianna.” Photo by Joshua White

“West Virginia.” Photo by Joshua White

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Ikebana Connects Creative Traditions in ‘Common Ground,’ a Ceramic Project Tying People Together Through Earthen Materials appeared first on Colossal.

In ‘Doom & Bloom,’ Lisa Ericson Illuminates the Surreal Impacts of Rising Sea Levels

“Extinguish.” All images courtesy of Corey Helford Gallery, shared with permission

Magical, surreal companionship characterizes Lisa Ericson’s hyperrealistic paintings in acrylic, which depict unusual pairs of species in easy coexistence. The Portland-based artist (previously) is known for illuminating flora and fauna and emphasizing the impending impacts of the climate crisis, particularly rising sea levels that in many of her latest works, encroach on her subjects’ environments. She shares about her chiaroscuro-style works:

I use the black background to create the drama of the spotlight on my chosen subject. It singles them out, exposes their every tiny detail, and creates a void of the unknown around them. In that way, each piece becomes an intimate portrait. I think of the animals in my paintings as simultaneously representing the natural world and also reflecting our own human struggle and emotion. I like to draw parallels between the two.

On view this month at Corey Helford Gallery, Ericson’s solo show Doom & Bloom features six portraits of animals that accentuate the devastating effects of a warming planet. In “Chariot,” a turtle carries an entire ecosystem across the road, while “Edge of Night” portrays a fox trapped on a tree stump blossoming with pink coneflowers. Each painting harnesses the intrigue of vivid color to draw the viewer in while also serving as a poignant reminder of what’s at stake, and the title of the exhibition suggests that gloom isn’t the only option amid such heartbreaking circumstances.

Doom & Bloom is on view in Los Angeles from October 7 to November 11. Head to Instagram to glimpse Ericson’s process and how these paintings came to be.

“Chariot”

“Edge of Night”

Detail of “Edge of Night”

“Mother”

“Fortress”

Detail of “Fortress”

“Territorial”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In ‘Doom & Bloom,’ Lisa Ericson Illuminates the Surreal Impacts of Rising Sea Levels appeared first on Colossal.