Behind the hammers and pins of most upright pianos is a hard mass of spruce, maple, or mahogany, what artist Maskull Lasserre (previously) refers to as a “secret volume of solid wood.”

“I always thought this (component) had a dormant potential beyond its basic supporting role in securing the tuning keys for the piano strings,” he tells Colossal. In one of his most recent works, titled “The Third Octave,” Lasserre investigates this prospect by carving directly into the back panel of two instruments.

The resulting sculpture connects through a tangled, textured knot of octopus tentacles, of which the eight arms correspond to the eight notes of the octaves available within the keyboard. Chiseled into the bodies of both pianos—the right features a lively Minoan-style marine illustration on its surface—the mollusk camouflages a miter joint, or an angled cut between two pieces of wood, that tightly fastens the instruments together.

Underneath one set of pedals, Lasserre slotted two books to keep pressure on the joint: On Growth and Form by D.W. Thompson and The Quadruple Object by Graham Harman He selected the texts, which detail biological and philosophical systems, respectively, for both their size and subject matter, which relate to the conceptual framework of his sculpture.

“Most subtly, the octopus dwells in a submerged depth beyond easy human access and remote from the stories we tell of it,” the artist explains. “This could equally describe that hidden volume of matter below the surface of a musical instrument that we think we know but actually holds other strange and beautiful potentials.”

“The Third Octave” also evokes his 2015 sculpture “Improbable Worlds,” which carved a tiny wishbone into the center of a piano. “Like all of my work, this (new) piece was made to answer some question (through a physical syntax) that written/spoken language simply cannot,” the artist says, sharing that his pieces are often dubbed nostalgic. He explains further:

When I have the opportunity, I gently emphasize that working, in a contemporary sense, with reclaimed material—and revealing something enduring and eternal in that—offers an intentional counterpoint to a society preoccupied with finding answers outside what we are and what we already have (see AI, new tech., etc).

Lasserre is currently working on a large public work in Squamish, British Columbia, which you can find preliminary photos of on Instagram.

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 A Knotted Octopus Carved Directly into Two Pianos Entwines Maskull Lasserre’s New Musical Sculpture appeared first on Colossal.

From goddesses and deities to demons and witches, women’s spirituality has always been fraught and the instigator of both awe-inspiring respect and immense anxieties. An exhibition on view now at Caixa Forum in Madrid brings 5,000 years of these complicated feelings together through 166 historical and contemporary artworks.

A collaboration between La Caixa Foundation and the British Museum, Revered and Feared: Feminine Power in Art and Belief considers how spirituality has informed notions of gender since time immemorial. The exhibition is global in scale, featuring ancient Greek monsters like Medusa, the Hindu goddess Kali, and depictions of the Christian icon, Our Lady of Guadalupe. Alongside these historical statutes and objects are works from contemporary artists like Zanele Muholi, Marina Abramović, Ana Mendieta, and Niki de Saint Phalle that contextualize these legacies within today’s cultural and political landscape.

Given the long history of fear over women’s power and independence, the imagery in the exhibition “speak(s) of the human desire to feel safe and find direction, of the natural cycles of fertility and the continuity of life,” a statement says. “They personify desire and passion, chaos and harmony. They are associated with witchcraft and evil spells. They represent female independence and are either central to society or on the fringes of it.”

Revered and Feared is on view through January 14. (via artnet)

Zanele Muholi, “Somnyama IV” Oslo (2015). Image courtesy of the artist and Yancey Richardson, New York

Cycladic figure, about 2400–2500 BCE, marble, Greece. Image © The Trustees of the British Museum

Contrasting portrayals, about 500 BC, painted terracotta, Italy. Image © The Trustees of the British Museum

Dance mask of Taraka, 1994, from the workshop of Sri Kajal Datta (born 1973), papier mâché, clay, fibre and silk, West Bengal, India. Image © The Trustees of the British Museum

Egyptian amulet, 1069–664 BCE, glazed composition, Egypt. Image © The Trustees of the British Museum

Queen of the Night, about 1750 BCE, painted clay, Iraq. Image © The Trustees of the British Museum

Exhibition view of the Venus statute

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 5,000 Years of Feminine Power and Prestige Are On Display in ‘Revered and Feared’ appeared first on Colossal.

The French cultural investment fund ArtNova has acquired Art Market Minds, the company behind the Art Business Conference, a series of annual one-day conferences that take place across the globe. This year, the organization will celebrate one decade since its first event in London in 2014.

The conference’s founder Louise Hamlin will keep a minority stake in the company and continue to oversee the events program. Last year, the conference’s scope expanded to include inaugural events in Cape Town, at Art Dubai, and at TEFAF Maastricht, where the next conference is planned for March 8.

The acquisition will also see the Art Business Conference merge with a different conference in Paris called the Art Market Day. This event is organized by Beaux Arts & Cie, a company owned by ArtNova that oversees several businesses, including the publications Beaux Arts Magazine and Le Quotidien de l’Art. It will now become the Art Business Conference Paris and is expected to take place in November.

“The return back to events after the lockdowns and changes in how and where we work has meant the in-person experience of meeting peers at the conferences has boomed,” said Hamlin. “As a single entrepreneur, I realized I needed help to expand the growing global portfolio of conferences and finding the right partner became a priority.”

“The acquisition means I have the mentorship of ArtNova’s executive team, including Frédéric Jousset and Jean-Baptiste Costa de Beauregard,” she added, “plus the ability to grow the conference team with new hires.” She also revealed that the company is hoping to continue growing in Asia in the near future.

Launched in 2020 by the French tech entrepreneur turned arts patron Frédéric Jousset, ArtNova is a €100 million ($119 million) impact investment fund created specifically to support the cultural industries. One branch of the fund, ArtNova Capital, oversees venture and private equity investments, while a second branch, ArtNova Patrimoine, donates money to important cultural heritage projects.

Jousset began sponsoring the arts in 2005, when he donated $1.09 million (€1 million) to the Louvre. He is now known for encouraging more experimental, imaginative approaches to boosting engagement with the arts through his foundation Art Explora, also supported by the fund.

“Louise has created the ultimate reference for art market conferences. I look forward to working with her to develop and expand this network internationally,” said Jean-Baptiste Costa de Beauregard, the investment director at ArtNova and deputy CEO of Beaux Arts & Cie.

More Trending Stories:  

Artists to Watch This Month: 10 Solo Gallery Exhibitions to See In New York Before the End of the Year 

Art Dealers Christina and Emmanuel Di Donna on Their Special Holiday Rituals 

Stefanie Heinze Paints Richly Ambiguous Worlds. Collectors Are Obsessed 

Inspector Schachter Uncovers Allegations Regarding the Latest Art World Scandal—And It’s a Doozy 

Archaeologists Call Foul on the Purported Discovery of a 27,000-Year-Old Pyramid 

The Sprawling Legal Dispute Between Yves Bouvier and Dmitry Rybolovlev Is Finally Over 

Follow Artnet News on Facebook:
Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

Affordable Art Fair is an entry in our Great British Brands 2024 book. 

Main image by Shaun James Cox

Affordable Art Fair: Great British Brand 2024

‘Running art fairs all over the world, it remains really important that we retain the human touch. We do this in several ways. Our local teams are vital in connecting with the galleries at a local level. We take a “glocal” approach; we look at the business both globally and locally. We rely on the people on the ground but train them in the lessons we’ve learnt over 25 years of operating worldwide. We also have a central, global marketing team.

It’s interesting from this perspective that geography affects art. Artists in Spain and Italy will use hot colours, reds and oranges, but Cornish ones the colours of the sea. Some art travels but some doesn’t.

Photography by Dean West at ARTITLEDContemporary. Affordable Art Fair 2023. Photo by Shaun James Cox

From the point of view of making art, there are two problems with AI. One is that AI is essentially derivative; it relies on what it can find on the internet. To create worthwhile art, you need to be human, observing what is going on in the world. The other is that many people are born to be artists – not everyone can be a banker or an entrepreneur, and art is a fundamental part of the human condition.

The human element is important, too, in selling art, in the interaction between the buyer, the artist, and the gallerist. There are three strands to this: the buyer loving the artwork itself, appreciating its texture and how it’s been made; the engagement with the artist and the seller; and, thirdly, the social element. People like meeting their friends to have a drink while talking about and buying art.

AI does, of course, have its part to play in making processes more efficient, but in the end this business is about people, and I can’t see a business succeeding that has used AI too much.’

Will Ramsay, CEO and founder

Will Ramsay, CEO and founder of Affordable Art Fair. Photo by Spinach

Five Proudest Moments

1. Founding the Affordable Art Fair in 1999 to make owning art accessible. In 2025 we’ll be celebrating 25 years of fairs.

2. Helping over 3,200,000 art lovers connect with great art, generating over £495m in sales for independent galleries and artists.

3. Our charity work. It generates over £100,000 a year in the UK alone for emerging artists and local charities, through donations and in-kind support.

4. D eveloping an art-loving community where everyone is welcome. Both exhibitors and visitors return year-on-year to see what’s fresh and new at our fairs.

5. Our forthcoming expansion in 2024, as we launch the winning Affordable Art Fair concept in Austin, Berlin, and Brisbane.

A gallerist adjusts work at Affordable Art Fair Battersea. Photo by Guy Bell

What I’ve Learnt

• Asking questions of the gallerist or artist gives me a deeper understanding of the story or reasons behind an artwork.
• Artists open our eyes and help us to appreciate things we might not have noticed.
• Travelling to our art fairs abroad, I have learnt that a lot of art is place-specific, reflecting the place’s colours and character.

AFFORDABLE ART FAIR

Upcoming London Fairs:

Battersea Spring, 6-12 March;

Hampstead, 8-12 May;

Battersea Autumn, 16-20 October

affordableartfair.com

@affordableartfairuk 

The Los Angeles public school system is one of few administrations in the U.S. that still provides instruments to its students for free. Tens of thousands of young musicians learn to play the saxophone or tuba on borrowed equipment, a program running since 1959 that offers greater and more equitable access to the arts.

A short documentary directed by Ben Proudfoot and Kris Bowers visits the unassuming warehouse where more than 80,000 student instruments are maintained. “The Last Repair Shop” shares the stories of how the four craftspeople came to their roles, punctuated by testimonies from students who’ve benefited from their work. Glimpsing their mending techniques and skill at repairing even the smallest cracks, the documentary is both a testimony to the necessity of public services like this program and the indelible impact music has on people of all ages and backgrounds.

“This is not just a musical instrument repair shop. When an instrument breaks, there’s a student without an instrument,” says Steve, a piano technician and the workshop supervisor. “No. Not in our city.”

Watch “The Last Repair Shop” above, and find more from the directors on Vimeo.

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 The Last Repair Shop: A Heartwarming Documentary Visits the Warehouse Servicing 80,000+ Instruments for L.A. Students appeared first on Colossal.

“Mumbai is loading” read the signboards girding some of the 10,000-or-so active construction sites across India’s financial capital. But as the 12th edition of Mumbai Gallery Weekend (MGW, 11-14 January) looks to prove, the city has already arrived—at least as far as its art market is concerned.

The event’s largest edition to date, with 34 participants, confirms Mumbai’s position as the dominant hub for India’s art trade. Several consecutive years of steady growth have seen most of its major dealers expand their footprints in the city. The recent launches of Mumbai outposts for two of India’s leading galleries—Experimenter from Kolkata and New Delhi’s Nature Morte—further emphasise the necessity of a physical presence in the city.

The past year has brought Mumbai’s art scene two further notable additions: its first art fair, Art Mumbai, whose inaugural edition took place in November, and a shiny new kunsthalle in the form of the Nita Mukesh Ambani Cultural Centre (NMACC), which, although less ambitious than other private Indian institutions, is helping to draw attention through its celebrity-studded openings.

Key players assert that the city’s construction projects are benefitting the market. “Real estate is going mad in this city and empty apartments need to be filled,” says Shireen Gandhy, the director of Chemould Prescott Road, the city’s oldest commercial gallery, who is chairing this year’s MGW. Tonight, it opens a show of graphic paintings and lightbox sculptures by Anant Joshi.

Even more important to Mumbai’s burgeoning art scene, Gandhy says, are the increased professionalisation of and collaboration among the city’s established dealers, who have recently formed the Mumbai Gallery Association—a parent organisation encompassing MGW and the crowd-pleasing Art Night Thursday gallery hops. “Over the past few years we’ve consolidated our position as a serious entity,” Gandhy says. “People will go to Delhi for its historical sites—but less so for its galleries, which are very spread out. Mumbai has much less to offer tourist-wise, but those in the art ecosystem actually come to the city for the commercial galleries, which are more concentrated together.”

Younger galleries are also making their mark this week. XXL, which launched last year and focuses on urban and post-graffiti art, will open its first permanent space today in the gallery hub neighbourhood of Colaba, with a nine-artist group show on typography and script. With works priced between $250 to $10,000, XXL offers more accessible price points than other MGW participants. Still, according to its founder, Joe Cyril, the gallery’s clients tend to be the same as those who purchase Modern and “more traditional” contemporary art, suggesting increasing diversification of the city’s private collections.

Also making its MGW debut this week is Akara Contemporary, a new venture from the 20th-century art gallery Akara Modern. This week it opens a show of beeswax and resin paintings and intricate pen drawings by Bhagyahsree Suthar. “This city’s market is seasoned,” says the gallery’s director, Puneet Shah. “Buyers here don’t have the space they do in other cities—but they do have money. Transactions tend to be more considered and more expensive here than elsewhere. In Mumbai you can’t put your regret purchases in a farmhouse.”

Even galleries not yet based in Mumbai are joining the MGW fray. Vidya Heydari, whose eponymous gallery is based in Pune, the second-largest city in Maharashtra state, after Mumbai, hopes to “connect with the city’s vibrant art community”. The gallerist adds that she is exploring the possibility of opening a space in Mumbai. Meanwhile, a show of new films and sculptures by Sudarshan Shetty at the IFBE art space allows the artist’s gallery, Ske, which has locations in New Delhi and Bangalore, to be present in the city at this market moment.

The vibrancy and density of Mumbai’s art audience was apparent last night, when the weekend kicked off with a well-attended performance by Nikhil Chopra at 47-A gallery, in which the artist painted works live with lipstick—a primer for his first solo exhibition in India in five years, now on show at Chatterjee & Lal. Tonight many of the city’s best-known commercial spaces open shows, including Ashwini Bhat at Project 88 and Areez Katki at Tarq.

Meanwhile, a handful of non-gallery events will also draw in crowds, including the Mumbai premier of CAMP’s seven-channel video installation Bombay Tilts Down (2022), which debuted at the Kochi Biennale last year. It is now being screened at the Sassoon Docks, a public fish market and former port yard that has in recent years hosted art shows, in collaboration with Experimenter gallery.

Further hurdles

This buzz comes as secondary market sales at Indian auction houses are achieving record figures and global players are taking greater interest in India’s economy, amid a slowdown in China and stagnation in Europe.

Indeed, much of India can felt to be “loading”, with vast infrastructure projects underway across the country. But at what cost? While the rampant construction in Mumbai might be boosting art sales for now, its side effects could eventually hamper them. In recent years, the city’s air quality index ranking has plummeted, in part due to the dust generated by poorly regulated building sites, and which now regularly blankets the city in a white haze. Chronic respiratory diseases are reportedly on the rise in Mumbai; the 2020 State of Global Air report termed air pollution the “biggest health risk in India”.

“This pollution problem is a new reality—it hasn’t hit people yet but it will soon I expect. Visitors to Mumbai will begin turning back,” Gandhy says. “People now think twice before they go to Delhi because of its pollution. I fear that will happen to us soon.”

“For generations, we have been taught to bear the responsibility of keeping nature in its most untouched and purest form, but try as we might, Pandora’s box has been opened,” says London-based artist and designer Sam Wilde. His striking illustrations and public artworks portray an imagined world “where we just let everything go awry.”

Wilde, who as an undergraduate studied biology and conservation, is gripped by the realities of the climate crisis and the human impact on the planet. The British countryside, for example, famous for its verdant bucolic vistas, is rife with invasive and non-native flora and fauna. Due to agriculture, industry, and other human interventions, the vast majority of the U.K. has no true natural landscape at all.

“I think with maturity, I began to understand that, for the most-part, we each as individuals are all doing the best we can to look after the planet,” Wilde tells Colossal. “And ultimately, the blame lies in the macro—and not the micro choices—we each make day-to-day.”

Employing a lurid array of uncanny shapes like glowing flowers or mutated fruits, Wilde considers an alternate future when the environment as we know it has entirely vanished. He upends the concept of natural beauty by considering the artificial instead, “framing the question: could there be a kind of punk beauty to that?” he says. In two major public artworks, “Pollution Palace” and “Cat’s Charade,” both commissioned for municipalities in China, he envisions worlds turned upside-down where reality seems at odds with one’s surroundings.

“Pollution Palace” at night

Wilde is fascinated by the way we perceive beauty or pleasure and how the brain doesn’t distinguish a hierarchy between artificial and natural objects. He says:

It’s hard to articulate, but if we, say, look at a lava lamp, it feels enchanting and visually appealing and fires up our synapses with endorphins. And then by the same stroke, if we look at a big beautiful juicy melon, on a neurochemical level, it’s no doubt the same nervous system pathways being activated by that visual stimulation… And that’s what I’m trying to evoke with my works, stripping out the judgement/fear/anxiety around the manmade,and just for a moment escaping into a world where manmade and nature are one of the same.

In “Cat’s Charade,” inspired by Lewis Carroll’s Alice in Wonderland, vibrant patterns redolent of radioactive flowers and a giant feline installed on top of a building instill a sense of delirium.  And in “Pollution Palace,” monumental inflatable sculptures shaped like hybrid pineapples and leggy blooms glow preternaturally at night. The installation takes as a starting point the tree of knowledge of good and evil, in the garden of Eden, reframing that knowledge as a tension between the organic and the human-made.

Wilde experiments with different techniques and types of projects, which range from watercolor paintings to digital illustration to textile designs. Explore more of his work on his website and Behance, and follow him on Instagram for updates.

“Cat’s Charade”

Left: “Pollution Palace” at night. Right: Installation view of “Cat’s Charade” (2023), Whuan, China

“Hubris Tree: Evergreen” (2019)

Work in progress for “Hubris Tree” (2019)

“Pollution Palace”

“Pollution Palace”

Work in progress for “Hubris Tree”

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 Large-Scale Installations, Sam Wilde Imagines a Post-Natural Future in Lurid Color appeared first on Colossal.

Interested people are invited to explore the modern Chinese art landscape at a book talk titled “China’s Art Market: Past, Present, And Future”, at RCB Forum, 2nd floor of River City Bangkok, Charoen Krung 24, on Saturday from 2-3.30pm.

Held in a collaboration with RCB Experimental Art Lab, the talk will be conducted by Kejia Wu, a renowned art historian and columnist for the Financial Times (Chinese edition). She will discuss her latest book, A Modern History Of China’s Art Market, a mesmerising exploration of the vibrant tapestry of Chinese art.

According to the latest survey of global art collecting released by The Art Basel and UBS last November, collectors from mainland China had the highest median expenditure in buying art in the first half of 2023. They also have the most active plans for collecting art in 2024.

Meanwhile, last year also saw the largest single-owner sale by a Chinese collector over the past decade at the auction of Long Museum’s collection at Sotheby’s Hong Kong.

The discussion will offer a groundbreaking account of the dramatic evolution of China’s art market and unravel the shifts in China’s arts and cultural landscape from the end of the Cultural Revolution to the present day, and explore its future trajectory.

The author will guide participants through the various stages of market transformation, shedding light on a group of Chinese contemporary artists who have courageously navigated the complex political and cultural milieu in search of creative breathing space.

Acting as moderator at the talk will be Rémy Jarry, a lecturer, writer and curator based in Bangkok. The talk will be in English and will conclude with an exclusive autograph session by Kejia herself.

There is no admission fee but registrations are required.

Now in its fifth year, Close-up Photographer of the Year drew nearly 12,000 remarkable entries from photographers in 67 countries who explore macro marvels of the natural world. From a roly-poly isopod in Austria to sunlit lily pads in an atmospheric Mexican cenote, this year’s images portray a vast array of flora and fauna in incredible detail. Eleven categories ranging from animals and insects to underwater and intimate landscapes welcomed submissions that focus on a breadth of amazing scenes.

The competition’s overall winner is Csaba Daróczi, whose spectacular black-and-white capture of a bird in flight, taken from inside a hollow tree stump, presents a unique perspective of forest life. Other category winners included Barry Webb’s extraordinary view of slime mold, Mirko Scortichini’s cluster of blue butterflies, and a ghost goby hovering over a diaphanous bed of pink coral by Laura Storm. You can explore the top 100 photos on the contest’s website.

Manfred Auer, “Orange Isopod.” Invertebrate Portrait 2nd Place. “I captured this shot during my early days as a macro photographer back in April. Just three months after getting my Olympus camera, I stumbled upon this incredible isopod in the woods behind my house in the beautiful south of Austria. This image is a result of merging 91 individual shots with varying focus points.”

Csaba Daróczi, “The Bird of the Forest.” Animals 1st Place and Overall Winner. “In the winter of 2023, I took a lot of photographs in a forest close to my home in Hungary. I found something new to photograph almost every week, and I spent several days exploring ideas and perfecting techniques. Staying curious and open-minded led me to this hollowed out tree stump, which measured around half a metre in diameter. I carefully positioned my GoPro 11 camera inside the trunk and took a few shots. I was amazed by the results. After a few days, however, I decided the composition might be improved if I included an animal in the frame. So, I returned to the spot and placed a sunflower near the hole, which the mice and birds soon found.”

Arne Bivrin, “Kiss of Death.” Animals Finalist. “I was sitting in a hide watching a heron stalking fish in the shallow water. I had my eyes on this heron and was ready when it caught the small fish. Most bird photographers like to capture the entire bird, whereas I enjoy tight portraits and details.”

René Krekels, “Wood Ants Firing Acid Secretion.” Insects 1st Place. “I had been studying the lifestyle of wood ants in the Netherlands for work when I noticed the defending ants of a very large ant’s nest seemed eager to scare me off by spraying acid towards me. Luckily, it wasn’t that destructive, and it provided me with a great opportunity to photograph them defending the nest.”

Mirko Scortichini, “Butterflies Storm.” Butterflies and Dragonflies Finalist. A group of Lycaenidae butterflies gather to feast upon a cowpat in Serrapetrona, Italy, in June

Laura Storm, “Cloud Nine.” Underwater Finalist. A ghost goby hides out among the undulating textures and swirls of its pink sponge daybed

Simon Theuma, “Dreamtime.” Underwater 1st Place. “Like an intricate tapestry of the marine ecosystem, this image captures the relationship between a commensal shrimp and a mosaic sea star. Dreamtime Aboriginal art reminds us of the delicate balance that exists in the grand tapestry of our natural world—this ancient wisdom serves as an important reminder to preserve what we have. To capture this image, I needed to use a snooted strobe, which was set at an acute angle to the subject. This setup accentuated the depth and beautiful texture of the two organisms. Additionally, I enhanced magnification by using a +15 wet lens dioptre.”

Barry Webb, “Comatricha with Droplets.” Fungi and Slime Molds Finalist. Beautiful Comatricha nigra slime moulds gleam with water droplets on a rotting fence post in November in Beaconsfield, Buckinghamshire, U.K.

Ye Fei Zhang, “Butterfly Eggs.” Micro Finalist

Liang Fu, “Heart of the Sea.” Underwater 2nd Place. “This photograph was taken during a blackwater dive in Romblon, Philippines. Blackwater diving is a type of scuba diving that takes place at night in the open ocean, with thousands of metres of water below the boat. Divers descend a rope with underwater lights as their only orientation system. When the tide and moon phase are right, creatures from the deep migrate to shallower waters. This vertical migration is one of the most remarkable natural phenomena. During the dive, I saw something shining under my searchlight at 28 metres deep. As I swam closer to investigate, I found a lava moray eel curled into a heart shape. I was extremely fortunate to capture this moment with my camera. The eel remained at that depth for less than 10 seconds before swimming down and disappearing into the darkness.”

Chris Gug, “Spirit of the Yucatan.” Plants Finalist. Looking through the drifting stems of lily pads in a Mexican freshwater cenote to the sky above

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 Close-Up Photographer of the Year Showcases Mindboggling Macro Images of the Natural World appeared first on Colossal.