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All images courtesy of PIKOU, shared with permissionSuspended from an undulating metal rod, two translucent patchwork curtains of prescription eyeglasses evoke the gleaming shimmer of a waterfall. The disorienting installation is the second in a series of optical works by Canadian artists Caitlind r.c. Brown and Wayne Garrett (previously), who created a smaller kinetic piece centered around the concept of collective vision back in 2015.Larger in scale and greater in material than the first, “And Between Us, An Ocean” utilizes 30,000 recycled polycarbonate plastic lenses sourced from a Beijing factory and Calgary recycling center. The dual installation bisects a gallery at Times Art Museum and distorts the space as visitors move amongst the glimmering curtains. A pixelated, contorted view emerges through the various prescriptions in each lens, skewing perspectives and proposing questions about the relationship between single and shared vision. Brown and Garrett write in a statement:What faint ghosts are carried by such intimate objects—windows on the world for the audience of one? How is our shared reality shaped by so many perspectives of the same place and time? Removed from their original purpose, the eyeglass lenses implicate something specific about the mass and scale of our human experience, and the power of our desire to see the world (and each other) more clearly.“And Between Us, An Ocean” is on view at the Beijing museum through September 12 before it travels to its next location. See the process behind the construction, which happened between Canada and China, and find more of the pair’s ocular works on their site. All images © Hollie Chastain, shared with permissionChattanooga, Tennessee-based artist Hollie Chastain is known for layering found photographs, book pages, and other ephemera into textured, mixed-media collages. This month, Chastain joins Colossal for a virtual workshop on paper scaling, or the process of cutting small, rounded forms from the humble material. In our session, we will spend an hour learning how to add shadow and dimension to both a solid color and portrait, and attendees will leave with a few additional tips and tricks for future projects.Registration is open now for the August 20 workshop, and if you’re a Colossal Member, be sure to use the code in your account for $5 off. Ten percent of all proceeds will be donated to the Chicago Coalition for the Homeless. All images © Sho Shibuya, shared with permissionSince March 2020, artist and designer Sho Shibuya has fostered a ritualistic creative practice of painting the morning sunrise on the cover of The New York Times, a routine he describes in a new interview supported by Colossal Members. The daily project was born out of lockdown and the COVID-19 pandemic, although it’s evolved into a broad body of work that transcends the artist’s original intent for the pieces.The process of flipping through the newspaper, watching the sunrise, and then painting every morning is quite meditative… But I treat the paintings the same as eating or sleeping; a vital part of my daily routine. It’s a little mission for myself, to capture the sunrise every day as a visual diary.In this conversation, Shibuya speaks with Colossal managing editor Grace Ebert about the ongoing series and the addition of more sculptural, conceptual works that respond to politics and current events. They discuss his pared-down, measured approach to conveying complex subject matter, the fluctuating relationship between concept and visual, and his fascination with humble, everyday materials.

Capital Knowledge in Art (CapitalKA)

by DHAdmann