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All images © Karolina Romanowska, shared with permission“Extremely resilient yet fragile” is how artist Karolina Romanowska describes the moody, anthropomorphic characters that comprise her series of sculptural works. Romanowska hand-builds a vast array of fantastical personas from clay, using a combination of slabs, coils, and molds to form flat tongues, individual teardrops, and horns with pointed tips. The contradictions inherent within the figures’ expressions are the conceptual counterpart to the ceramic material, she says, referring to both its ability to withstand fire and its propensity to fracture or burst upon impact.Based in Madison, Wisconsin, the artist gravitates toward colored slips to add dimension and texture to the stoneware pieces. “I find that material extremely giving as it’s reminiscent of my childhood days of playing in the dirt,” she tells Colossal. “Those were some of the most fun times I had as a child, engaging with my environment and transforming mud into pizzas, birds, and castles. Through mud, I am able to experience true freedom.”Today, that creative energy manifests in Romanowska’s ceramic practice, which spans three-dimensional sculptures and masks that vary from miniature to life-sized. Minimal in construction and playfully contemporary, the cheeky works also reference cultural and art historical traditions. “Masks are present wherever humans are. I am only repeating an act that has been done since the beginning of us. Used for rituals and entertainment, masks can hide or reveal who we are,” she says.Romanowska’s colorful works are on view through September 4 at the Overture Center in Madison, and she’ll have a few pieces in an upcoming group show at Higher Art Gallery in Traverse City. See which sculptures are available to add to your own collection on Instagram. “Fire Fighter” (2021), oil on canvas, 60 x 76 inchesMarked with visible brushstrokes and drips of paints, the portraits of Tim Okamura (previously) blend realistic portrayals of his subjects with the fervent, unrestrained qualities of street art. The Japanese-Canadian artist, who recently moved his studio from Brooklyn to Queens, centers his practice around storytelling and honing in on the distinctive energies of those he paints.Much of Okamura’s portraiture develops in series, whether as the Healthcare Heroes collection devoted to the nurses and doctors working tirelessly throughout the pandemic or the commanding figures of the ongoing Women Warriors—many of these works will be on view as a solo exhibition in September of 2023 at Pittsburgh’s August Wilson African American Cultural Center. Rendered primarily in oil with the occasional acrylic or spray paint addition, the pieces capture the raw nature of Okamura’s process and the distinctive, powerful presence of his subjects.If you’re in Los Angeles, visit the Academy Museum to view the artist’s portrait of the late writer Toni Morrison. Otherwise, find more of his paintings on his site and Instagram, and browse limited-edition prints in his shop. Toni Morrison circa 1993“Nurse Tracy” (2021), oil on linen, 40 x 60 inches“Blood, Sweat, and Tears (Portrait of the Artist Marc Andre)” (2022), oil on linen, 32 x 26 inches“Rites of Spring” (2021), oil on canvas, 64 x 64 inches“Rich Medina” (2022), oil on wood panel, 24 x 24 inches“Luminescence” (2022), oil and acrylic on canvas, 60 x 60 inchesImage © Jason Rinehart, shared with permissionDuring what he thought would be a routine storm-chasing expedition in Virginia last week, photographer Jason Rinehart visited an overlook within the Blue Ridge Mountains. He was hoping to capture the ominous shelf cloud leading that night’s torrent but instead found himself witnessing an unusually lucky sight: as the rain broke during twilight, a double rainbow emerged over the horizon, an already stunning phenomenon made more serendipitous when it was punctured by a bright lightning bolt in the distance. Rinehart captured the perfectly timed moment in a striking photo, which is now part of his extensive archive of landscapes and long-exposure light paintings that you can find on Instagram. (via PetaPixel)In this brief timelapse, a single acorn germinates from seed to sapling during a period of 196 days, transferred carefully from vessel to vessel as it sprouts. The simple yet wondrous clip is just one of many plant-growing timelapses produced by the Youtube channel Boxlapse (also on Instagram) where you’ll find a new release almost every weekday. The videos include all manner of plants and fungi captured in interesting ways, including the growth of a mango tree during a yearlong period or the first 113 days of a dragon fruit cactus, seen below. All images © T.A.G. Smith, shared with permissionSimilar to the decorative art of marquetry, intarsia involves compressing cut pieces of wood into a tight, solid structure. Because of the size of the components, the latter technique produces more three-dimensional forms that tend to be fastened with dabs of glue.British artist T.A.G. Smith employs this assemblage method when sculpting his small bird busts, portraits, and single feathers encased in boxes. Each piece begins with a digital rendering, followed by Smith carving shapes from myriad types of wood, allowing the color and grain of the materials to determine its placement in the final form. The resulting sculptures, which Smith likens to a jigsaw puzzle, combine anywhere from six to more than 600 individual pieces into sleek, realistic depictions of eagles, hawfinches, and puffins.Currently, the artist is adding to his series of bird portraits, and you can follow his progress on Instagram, where he also shares information about works available for purchase on Etsy. All images © Carlos Cabo, shared with permissionMore than form or color, texture is what preoccupies Carlos Cabo as he sculpts. The Spanish artist, who lives and works in Salinas, is drawn to the tactile qualities of clay and the possibilities inherent in its malleability. Texture “is what gives (a work) personality, what individualizes it, and essentially differentiates it from other similar pieces,” he says. “I would dare to say that the texture is more than the skin of the piece. It is the representation of its genetic code.”From masses of the natural material sourced from the countryside, he shapes tall, slender figures wearing pocked gowns, abstract pieces that twist upward, and minimal owl-like creatures, some with sleek feathers and others with rough, bumpy plumage. Each ceramic piece is carefully molded, fired, and covered in terra sigillata, the lustrous clay slip coating that functions similarly to a glaze while not masking the texture of the sculpture’s surface.In a note to Colossal, Cabo shares that his desire to vary the tactile parts of his practice stems from his childhood. He explains:I grew up in a rural environment, in which we children spent a lot of time outdoors, in permanent contact with endless objects that served to accumulate a lot of tactile experiences in my memory. On the other hand, in my town, there was no electricity during the day. This came to the houses when it got dark and, sometimes, well into the night, which forced us to wander around it using our sense of feeling and touch… I came to know all the imperfections of the walls, the geometry of the doors, and the location of things.To explore more of Cabo’s body of work, visit his site and Instagram.

Capital Knowledge in Art (CapitalKA)

by DHAdmann