From a beefy seated gorilla to a sleek shell with human legs, a spectacular collection of public artworks currently populates the walk from Bondi to Tanarama beaches on Australia’s southwest coast. Celebrating its 25th year in this location, the annual Sculpture by the Sea festival showcases more than 100 pieces in various mediums, styles, and sizes, all bordering the Pacific Ocean. Through early November, visitors to the two-kilometer stretch will encounter Gleb Dusavitskiy’s enormous pair of wings that soar into the sky, geometric shapes of translucent color by Emryn Ingram-Shute, and The Glue Society’s gloopy, melting ice cream truck, which debuted in the event’s 2006 edition.

Although temporary, Sculpture by the Sea is one of the largest outdoor sculpture parks in the world and on view through November 6. See more from the 2023 edition on Instagram.

Gleb Dusavitskiy, “I Believe I Can Fly.” Photo by Tyr Liang

Emryn Ingram-Shute, “No Colour in War.” Photo by Tyr Liang

Top left: Eiji Hayakawa, “Giant in the Forest.” Photo by Charlotte Curd. Top right: Markus Hofer, “Serum.” Photo by Henri Fanti. Bottom left: Laurence Edwards, “Man of Stones” (2022). Photo by Charlotte Curd. Bottom right: Osamu Ohnishi and Masako Ohnishi, “HITSUJI Hideout.” Photo by Henri Fanti

Tsukasa Nakahara, “Water Blocks 19-11” (2021). Photo by Charlotte Curd

“Keep Walking.” Photo by Charlotte Curd

The Glue Society and James Dive, “Hot With the Chance Of A Late Storm” (2006-2022). Photo by Charlotte Curd

Juan Pablo Pinto and Cristian Rojas, “The Hermitage.” Photo by Charlotte Curd

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 Over 100 Spectacular Artworks Line an Australian Beach for the Annual ‘Sculpture by the Sea’ appeared first on Colossal.

Slowly but surely emerging from the ravages of the devastating Coronavirus pandemic and its resultant crippling impact on the global economy, Cambodia’s art scene is still finding its feet.

Stumbling unsteadily like a man stepping out in the blinding sun from a dark cave, the art industry has suffered a huge blow along with the economy.

“Our audience is largely local residents and Cambodians. So tourism doesn’t usually affect us directly. However, I can say that the downward turn of economy in general is particularly hard on the arts in Cambodia as we rely so much on the private sector for support. Without support from venues and audiences then artists will continue to struggle as they did since covid. Which is true for the art space as well,” said Dana Langlois, founder and artistic director, Java Creative Café.

“The art market in Cambodia is stagnant for now and the resurgence of tourism has still not been able to create any positive impact,” said Soeng Eoun, founder and proprietor of Can’ Art. She feels that in general, artists are not getting a good deal from the galleries.

“The art market is slowly growing, however there are many non-Khmer artists dominating the space. Very few galleries are owned and run by Khmers. But there are amazing exceptions such as Chan Dina, Din Art Gallery and SaSa Projects,” said Liz Heeley, former employee of Pi-Pet-Pi Gallery282.

Heeley, who used to run her own gallery, feels the pain of economic challenges. “The expense of running a gallery is large and many artists are problematic as they do not understand their commitment and the cost to the gallery. Many artists are represented by a manager that will take a commission as large as the commission required by the gallery,” she said.

As to whether the revival of tourism is having a simultaneous resurgent effect on the art market, Heeley remains sceptical. “Tourism only benefits tourist art generally like the mass-produced pictures of an Apsara or Angkor Wat. The tour companies and hotels send tourists to the same old places such as Toul Sleng, Royal Palace, Killing Fields and if they are lucky the National Museum in Phnom Penh. Even in the art city of Battambang, major tour companies will forget the art scene in preference for a bike ride or the bat caves, she said.

She also rues the step-motherly treatment by the government to the art market in the Kingdom. “The department of tourism or the department of Arts and Culture don’t seem very interested in the contemporary art scene either. Anything after the Khmer Rouge does not seem to reach the ears of tourists. It is the wonderful local people; both Khmer and expats that have supported my gallery and others throughout covid and after. Khmer artists are looking towards foreign markets as grants are far more available,” she said with a tinge of bitterness.

The Abbotsford Arts Council and the Kariton Art Gallery are accepting proposals for handmade artisan products to be featured in the 2023 Holiday Art Market.

The annual market takes place from Dec. 2 to 22 and includes a range of price points and a variety of work.

Preference among similar items will be given to Abbotsford residents, but residents of other municipalities are welcome to apply.

Examples of products being sought include art prints and cards; stationery and stickers; mugs; jewelry; handmade bath and body products; fibre art products, including knits, quilts and handmade toys; and pottery.

Participants may set their own prices, with 30 per cent commission going to the Abbotsford Arts Council.

Artisans are not required to be on site for the holiday market. Accepted items will be displayed in the Kariton Art Gallery (2387 Ware St.) throughout the market, with pickup of unsold products arranged in January.

All products must be original creations of artisans’ own designs. No third-party or resold products are permitted.

The deadline to apply is Nov. 6. Application forms are available at abbotsfordartscouncil.com (click on “opportunities).

RELATED: Biennial exhibit in Abbotsford features works by Fraser Valley artists

Ethereal sheets of tulle appear to hover in spectral motion over meadows and in copses of trees in Thomas Jackson’s latest photographs. “If there’s a theme I’m focused on this year, it’s the relationship between the materials I use to make my installations and the landscapes they inhabit,” he tells Colossal. Each ephemeral installation (previously) responds to the surrounding environment, changing shape as it interacts with the wind. Often documented during the golden hour, the layers of thin fabric shift to become more or less opaque, overlapping and into various color combinations in the light.

Recently, Jackson has begun to work with silk and continues to incorporate other everyday materials into his pieces, like plastic cups or aluminum trays. This past summer, he and a team of 60 volunteers coordinated the installation of “Collaborative Nature,” a public art project in a park in Tiburon, California, consisting of about 800 fabric “puffs” that responded to the wind, stuck into the ground with thin fiberglass stakes.

Jackson focuses on sustainability, taking a “leave no trace” approach to dismantling the installations when they are complete and recycling the materials into new projects. He says:

It would not be incorrect to say that I make art about nature with materials that represent a threat to nature itself. It’s contradictory, I know, and to a large degree, that’s the point. In fact, I think we’re all grappling with a similar contradiction in our daily lives. We revere nature and want to preserve it (most of us at least), but we also want to enjoy the comforts and conveniences of our petroleum-based, industrial economy. I want my work to exist in the space between those two incompatible desires. At the same time, I want viewers to consider what a sustainable equilibrium between ourselves and the natural world might look like.

Find more of Jackson’s work on his website, and follow updates on Instagram.

“Tulle no. 51_v2,” (2023), Serenbe, Georgia

“Collaborative Nature,” (2023), Tiburon, California

“Tulle no. 039” (2022), Neskowin, Oregon

“Tulle no. 44_v1” (2022), Nantucket, Massachusetts

“Cups no. 6” (2023), Serenbe, Georgia

Nantucket, Massachusetts

“Tulle no. 052” (2023), Serenbe, Georgia

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 Wind Animates Vibrant Fabrics in Thomas Jackson’s Ephemeral Environmental Installations appeared first on Colossal.

A yoga and meditation studio in Bali welcomes visitors to relax and stretch under an airy bamboo canopy. A recent project of the local architecture firm IBUKU, “Lumi Shala” is a copper-coated structure with scalloped roofing that layers like five overlapping petals. The metallic covering is met with interlaced bamboo infrastructure inside, as those same botanical-like forms sweep upward in massive arches and “reflect warm golden light onto the bellies of the blonde bamboo ceilings inside, inspiring feelings of lightness and freedom,” the designers said. Earthen walls also support the roof with gaps that allow seamless movement between interior and exterior and sunlight to stream into the space.

“Lumi Shala” is one component of IBUKU’s larger plan for the yoga studio, and you can find more on the firm’s site. (via Dezeen)

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 Five Copper Petals Dramatically Enclose a Bamboo Yoga Studio in a Lush Bali Village appeared first on Colossal.

For veterans of the Denver comedy community hungry for something challenging and new, there’s a haven for the unconventional, the daring and the downright weird. It’s called Flea Market, a wildly inventive variety show that defies categorization, seamlessly blending standup, theater and performance art into a one-of-a-kind experience.

Hosted by the dynamic duo Rach Angard and Jared McBain, Flea Market is not just a show; it’s a celebration of the extraordinary, an exploration of the bizarre and a platform for artists to push boundaries and redefine comedy.

“If you’ve experienced the traditional scene and want to expand your horizons, Flea Market is for you,” Angard says. “Flea Market is for the freaks, the geeks, the weirdos and the beardos. It’s for people who shop at Goodwill rather than Target. If you compulsively refuse to finish your college degrees, you’ll fit right in. This show is for anyone out there who has an estranged relationship with their fathers, but in a way that’s interesting and complex. Also, definitely come if you are hot.”

In 2021, as the world gradually reopened after the pandemic, Rach Angard and Jared McBain decided to host a show together in a friend’s backyard.  
Courtesy of Flea Market” class=”uk-display-block uk-position-relative uk-visible-toggle”> click to enlarge

In 2021, as the world gradually reopened after the pandemic, Rach Angard and Jared McBain decided to host a show together in a friend’s backyard.

Courtesy of Flea Market

The idea for Flea Market began in Angard’s old apartment, where she and McBain were living along with several other local improvisers. “I started doing improv in the fall of 2019, and it quickly became everything to me,” Angard recalls. “I didn’t do it for very long before everything shut down, but a few of us just decided to become very close right away. Jared and I were part of a group that decided to do COVID together, and it was during that time that I truly began to understand comedy by being around people who were funnier than me.”

McBain has been active in local improv since he discovered it was an escape for him in high school. He loved the feeling he got from making others smile, and even moved to Chicago to try to break into the city’s competitive scene.

“Ever since I returned home from Chicago, I feel like things have shifted for me artistically,” McBain says. “I felt like I had done the big improv route, and now I’m interested in getting into the scene by creating things that are so specifically myself, which is pretty off-beat and improvisational.” 

In 2021, as the world gradually reopened after the pandemic, Angard and McBain decided to host a show together as an outlet for their creative impulses. Traditional comedy and theater venues were still closed, so they hosted their Flea Market in a friend’s backyard during Pride month as a fundraiser for the Center on Colfax. The experience was a whirlwind of free drinks, free laughter and unexpected donations.

“I distinctly remember a moment from that first show where I was standing in the back against the door looking at the show and I just started crying,” recalls McBain. “It was so special. We had at least fifty people at the show, and we heard similar things about the experience from them.”

“Flea Market is dripping with sincerity in a way that is unbelievable,” Jared McBain says. “It’s our little slice of magic in Denver.”  
Courtesy of Flea Market” class=”uk-display-block uk-position-relative uk-visible-toggle”> click to enlarge

“Flea Market is dripping with sincerity in a way that is unbelievable,” Jared McBain says. “It’s our little slice of magic in Denver.”

Courtesy of Flea Market

The success of their first show during Pride was an emotional revelation for the creators. Surrounded by friends and strangers, the atmosphere crackled with a unique energy, leaving a lasting impact on everyone involved. “It felt special immediately,” Angard shared. Flea Market became a space where performers could showcase their most unconventional acts; clowns, experimentalists and non-traditional comedians finally found their stage.

The two hosted one more show in a friend’s backyard in October 2021, but they quickly learned their lesson about the unpredictability of Colorado’s weather. “That show was so cold. It was honestly a mistake, but that show was nuts,” Angard says. “After that, we realized we should be doing this at a venue. We drew up a list of places we liked and decided on Grandma’s House. I emailed them, saying that we would love to talk about doing a monthly show at your venue.”

Over time, the show’s format evolved; Flea Market now happens at Forest Room 5, but each performance remains a celebration of the wonderfully weird. The event is specifically geared toward those who want to enter Denver’s comedy scene but are not sure where their unique voices would fit in.

“We realized that we needed to carve out our own space where we could perform something wild, like a set about a bag of wigs,” explains McBain. “I can’t exactly do ‘Bag of Wigs’ on the Comedy Works stage right now — although I would love to someday!”

The producing duties of Flea Market are evenly split between Angard and McBain. Angard tackles communication with performers, ticket posting and door management, while McBain handles promotion and social media.

“We run the show together,” Angard says. “We sandwich the show with music, so it starts and ends the show. After the music, Jared and I will go out to warm the crowd up by being ourselves. Then we will have performers come up and do their sets, with Jared and I performing in between each one as well.”

This October’s monthly offering of Flea Market showcases the musical magic of Baby Baby, coupled with the comedic brilliance of Katie Falcongrove, Evan Joe and Rachel Crowe. As always, the show champions a cause close to their hearts, with a portion of the proceeds benefiting EarthLinks, an organization providing job opportunities for older adults experiencing homelessness.

This October’s monthly offering of Flea Market features the musical magic of Baby Baby, coupled with the comedic brilliance of Katie Falcongrove, Evan Joe and Rachel Crowe.  
Courtesy of Flea Market” class=”uk-display-block uk-position-relative uk-visible-toggle”> click to enlarge

This October’s monthly offering of Flea Market features the musical magic of Baby Baby, coupled with the comedic brilliance of Katie Falcongrove, Evan Joe and Rachel Crowe.

Courtesy of Flea Market

When asked to whom they would recommend Flea Market, Angard quips, “Mitch McConnell. I think he would really enjoy our show.”

“We’ve actually reached out to his team to try to book him for the show,” McBain jokes. “Every time you see those videos where Mitch McConnell goes silent, that’s him receiving our email.”

Flea Market isn’t just a comedy show; it’s a testament to the power of authenticity, a celebration of the unconventional, and a reminder that art knows no boundaries. For those seeking a night of unbridled creativity where laughter mingles with the unexpected, Flea Market at Forest Room 5 on Thursday, October 26, is an experience not to be missed.

“It’s so cool to be able to do a show with one of your best friends,” Angard admits. “We learned to speak the same language, both as friends and in the show. I’m going to say something insane, but you know how sometimes you say you want to make a baby with somebody, so it could have half of you and half of me? Flea Market is that for me and Jared. It feels very special, and I think that’s because Jared and I just adore each other. We see the best in each other, and everybody that we bring on and like is ironically non-cynical. We earnestly love this, each other, art and comedy so much.”

McBain nods in agreement, his eyes sparkling with excitement. “And I agree,” he says. “Flea Market is dripping with sincerity in a way that is unbelievable. It’s our little slice of magic in Denver.”

Flea Market, 7:30 p.m. Thursday, October 26, Forest Room 5, 2532 15th Street. Get tickets at eventbrite.com.

Paris+ par Art Basel’s second edition, highlighting the city’s cultural vitality and its growing stature in the global art market, has concluded. With 154 premier galleries, including 61 in France, the event showcased the country’s thriving art scene. It featured a diverse public program in collaboration with renowned cultural institutions across six Parisian locations. This edition welcomed 15 new galleries from Europe, the Americas, Africa, Asia and the Middle East. Held at the Grand Palais Éphémère from October 20 to 22, 2023, the fair drew 38,000 attendees. The next edition will take place at Art Basel’s permanent venue—the iconic (renovated) Grand Palais—from October 18 to 20, 2024.

Here are some highlights from this year’s Paris+ par Art Basel:

Mark Rothko, Olive Over Red (1956), Pace Gallery

In Paris, the art scene is abuzz with a retrospective of Mark Rothko’s 115 works at Fondation Louis Vuitton, the first comprehensive exhibit in France since 1999, featuring loans from esteemed institutions worldwide. Simultaneously, Paris+ par Art Basel presented a notable Rothko piece, “Olive over Red” (1956), available for $40 million through Pace Gallery. Another valuable Rothko, “Untitled (Yellow, Orange, Yellow, Light Orange)” from 1955, is now at Christie’s, estimated at $45 million (after not being sold for $60 million at Art Basel in June).

Sarah Sze, Many A Slip (2023), Victoria Miro Gallery

Sarah Sze, born in Boston in 1969 and currently based in New York, is an acclaimed artist. She represented the United States at the 2013 Venice Biennale and received a MacArthur Fellowship in 2003. Her works are showcased in esteemed museums globally, including Tate in the UK, M+ Museum in Hong Kong and The Museum of Modern Art in New York. Sze’s art is also part of permanent collections at renowned institutions such as the Guggenheim Museum and the Whitney Museum of American Art in New York. Notably, she has contributed public installations to locations like the High Line, Second Avenue Subway Station and LaGuardia Airport in New York.

Rashid Johnson, Untitled Broken Men (2023)

Born in Chicago in 1977, Rashid Johnson is a prominent contemporary American artist. His diverse practice spans photography, sculpture, painting, drawing, film and installation. Johnson explores themes such as art history, cultural identities, personal narratives, literature, philosophy, materiality and critical history, using a wide range of materials imbued with symbolism and personal significance. In his Surrender Paintings, Rashid Johnson continues to delve into the Anxious Men motif. These works feature ghostly faces rendered in Titanium White oil paint on raw linen, evoking a sense of acceptance and reconciliation. Johnson deliberately restricts the palette to white on raw linen, creating an aura of redemption and acknowledgment. These new series offer a simplicity and quiet resonance that echo the collective experiences of recent months.

Ed Rusha, Huge Conditions (2007), Gladstone Gallery

Ed Ruscha’s “Huge Conditions” (2007) is a standout among his works characterized by expansive landscapes overlaid with text. To achieve the photorealistic effect seen here, Ruscha initially applied a thin layer of paint directly to the canvas, refining details with precise acrylic brushwork. The distinctive font used for the text, named “Boy Scout Utility Modern” by the artist, features straight lines without curves. The typeface’s wide spacing and Ruscha’s deliberate lateral composition enhance its square, straight quality, making it a striking example of the iconic style he developed in the 1980s.

From New York to Paris: Windy by Meriem Bennani for Audemars Piguet Contemporary

Meriem Bennani’s dynamic sculpture, “Windy” (2022), presented by Clearing and co-commissioned by High Line Art and Audemars Piguet Contemporary, was on display in Paris’s Jardin des Tuileries from October 17 to 22. This artwork was part of a featured piece in “La Cinquième Saison” (“The Fifth Season”), a public exhibition organized by Paris+ par Art Basel and the Musée du Louvre. Curated by Annabelle Ténèze, the incoming director of the Louvre Lens Museum, this exhibition was part of Paris+ par Art Basel’s 2023 public program, spanning six locations across the French capital.

Gaetano Pesce, Double Heart (2022)

A design luminary, Gaetano Pesce drew inspiration from his 1969 lamp design to craft a monumental sculpture in 2022. The recurring motif of the pierced double heart features prominently in his artwork. It encapsulates a core tenet of Pesce’s artistic philosophy, emphasizing contemporary engagement with the exuberance and romance found in objects and people. Placed at the garden entrance, the pierced hearts symbolize deep poetry and hint at life’s uncertainties and potential tragedies.

Pesce’s rich background includes studying architecture, founding the “N” Group in 1959, and pioneering innovative materials and shapes in design since 1962. His work graces over 30 prestigious national and international museum collections, from MoMA to the Victoria and Albert Museum.

Dylan Solomon Kraus, Untitled City In The Sky (2023), Peres Projects

Dylan Solomon Kraus, born in 1987, employs mythical symbols and geometric shapes in his artistic practice, offering a fresh perspective on pastoral nightscapes featuring celestial elements. He has held solo exhibitions at various prestigious venues, including Almine Rech in London, Peres Projects in Seoul and Milan, Mamoth in London and Entrance in New York. Additionally, Kraus has contributed to numerous group exhibitions in New York, such as Europa, Jack Hanley and Tramps, and was recently featured in a group exhibition at Hoffmann Maler Wallenberg in Nice.

Guerlain, Les Fleurs Du Mal Exhibition

As an official Paris+ par Art Basel Partner, Maison Guerlain presents from October 18 to November 13, 2023, “Les Fleurs du Mal,” an exhibition paying homage to Charles Baudelaire’s poetry. This tribute aligns with Maison Guerlain’s 170th-anniversary celebration of the “Bee Bottle,” created for Empress Eugénie, a poetry enthusiast. Baudelaire’s “Les Fleurs du Mal” once provoked fascination and outrage, leading to his trial, where the Empress intervened on his behalf.

Beyond history, Maison Guerlain explores the connection between nature and artistic creation, delving into the dualities of flowers. Each exhibit reflects on existence’s fragility, prompting contemplation of life, death and transcendence.

Curated by Hervé Mikaeloff, the 16th annual contemporary art exhibition features 26 artists worldwide. They interpret the theme using various artistic media, with some creating pieces exclusively for the event. For Mikaeloff, it was very important to bring different generations, genders and nationalities of artists together, to create contrast, vibrancy and curiosity. What’s beautiful is that all these artworks harmonize so perfectly despite their differences—or maybe because of their contrasts. What a beautiful purpose.

Maison Guerlain’s tradition as an art patron since 1828 continues, fostering creative dialogues with painters, designers, sculptors and photographers. Through “Bee Art by Guerlain,” they champion art’s role in addressing pressing issues, supporting ecological awareness and artistic engagement. This event offers a platform for emerging and established artists, contributing to the international contemporary art scene.

Art & Environment Prize

In addition, Lee Ufan Arles and Maison Guerlain have awarded the Art & Environment Prize to Djabril Boukhenaïssi for its inaugural edition. Chosen from 381 applicants and five finalists by a jury of esteemed cultural figures presided over by Lee Ufan, the winner will enjoy six to eight weeks of residency support followed by a solo exhibition in Lee Ufan Arles’ Espace MA in the summer of 2024. This museum, located in the city center, showcases Lee Ufan’s work while nurturing contemporary art and cultural interactions.

The prize offers visibility and career opportunities and opens doors for collaboration with Maison Guerlain. Boukhenaïssi’s art explores disappearance and fragility, weaving evanescent memories into personal and collective narratives. Following his studies at Beaux-Arts de Paris in Djamel Tatah’s studio, he established his studio for engraving and painting in the Normandy countryside, inspired by the starry night’s boundless muse for his artistic and philosophical musings.

Retro digital aesthetics meets analog techniques in the ceramic sculptures of Toshiya Masuda. The Japanese artist (previously) fuses the low-resolution, pixelated imagery associated with early virtual worlds with quotidian objects from a similar time in pop culture history. Blurry cubes of painted clay form a bright red boombox and cassette tape, a pair of high-top Converse, and a Polaroid camera with a crinkled photo emerging from its slot. By melding the two disparate forms, Masuda creates what he calls an “image gap,” an uncanny feeling in which the unreal is made tactile.

Nostalgic and youthful, the sculptures reflect technological evolution and our increasing reliance on devices. Masuda tells designboom:

I am 46 years old now. I remember when I was in primary school, computers became widespread, and by the time I was a university student, these were followed by smartphones and tablets. It was like the dawn of the digital age. I am part of the generation where digital objects gradually increased their presence in our lives… One of the most important things for me when I create my work is to make sure that it expresses the times in which I live.

A few years back, Keiko Art International produced a short film documenting Masuda’s process and thinking that’s worth the watch. You can find more of his work on his site.

“Low pixel CG’Memory container 2′”

“Low pixel CG ‘Super Idol’”

“Low pixel CG ‘All Star’”

“Low pixel CG’Recollection Playlist’”

Left: “Low pixel CG ‘Withering Flowers.’” Right: “Low pixel CG ‘Family Taking Refuge from a Bombing Raid’ (V&A collection)”

“Low pixel CG ‘Transition’”

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 Let’s Get Digital: Toshiya Masuda Recreates Retro Technology as Pixelated Ceramic Sculptures appeared first on Colossal.

In a pair of companion exhibitions, Peruvian artist Cecilia Paredes (previously) expands on her lavish collection of “photo performances” to explore the fluid relationship between our bodies and environments. On view now at two Ruiz-Healy Art locations, the solo shows encompass new works that continue Paredes’ unique methods of camouflage and disguise. The artist swathes herself in densely patterned fabrics and paints any visible skin with the same motif, which she perfectly aligns with the backdrop to create disorienting and endlessly intriguing images that blur the contours of her body.

Both exhibitions, Walking in My Galaxy Blue and The Weaving of Dust, are wide-ranging in their interpretations of surrounding environments as they draw on the cosmos, forests, and ornamental vessels fit for domestic interiors. The self-portraits develop Paredes’ interest in the correlation between personal identity and external forces, questioning how we understand and present ourselves in relation to the outside world.

See the exhibitions at Ruiz-Healy Art through November 3 in New York and November 18 in San Antonio, and keep up with Paredes on Instagram.

“Chrysalis” (2023)

Left: “Dafne Tall” (2022). Right: “Dafne in Repose” (2022)

“Clorinda” (2022)

“Cupcake Rose” (2023)

“Walking in my Galaxy Blue” (2023)

“Rose Garden” (2023)

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 Precisely Aligned Paint and Fabric Camouflage Cecilia Paredes Amid Lush Botanical Backdrops appeared first on Colossal.