Blending sturdy metal with the soft warmth of wool, Joshua Adokuru winds vibrant fibers around precisely placed nails that anchor his expressive and abstract portraits. The Abuja-based artist always incorporates strings in shades of blue, which fill amorphous shapes highlighting the subject’s face or defining the checkered pattern of a sweater. It’s “a natural color, a color of the sky, a color of the sea,” he says, noting that he gravitates toward bold, fantastical hues for skin tones. “Blue has this feeling of peace, a feeling of serenity.”
Formally trained in computer science, Adokuru has been experimenting with different mediums since secondary school, but it wasn’t until spring of 2020 that he started working with thread. His pieces, which are often larger than life, begin with a photograph of a child or friend, which are then translated into a simple sketch on a wooden board. Adokuru accentuates the figure’s silhouette, facial features, and any motif on their clothing or in the backdrop with nails that are glued in place, sprayed with black paint, and finally covered in taught thread. Because the artist is most concerned with capturing his subjects’ exact expressions, he always completes the eyes last.
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Stars, Circles, and Symbols in Primary Colors Form Astrological Maps and Coded Works by Shane Drinkwater
As a child, Australian artist Shane Drinkwater (previously) was fascinated by maps, astronomical charts, and ciphers. “This possibly relates to my dyslexia: images and shapes had a strong attraction whereas words on paper were a difficult subject,” he tells Colossal. “I found maps on paper quite appealing, coloured shapes and unraveling a code to find a path in the real world.”
This cartographic interest permeates the artist’s current body of work, which features dots, stars, dashes, and concentric circles arranged in vast systems and imaginary cosmic charts. Rendered in acrylic on paper or canvas, the hypnotizing works rely mostly on neutral tones similar to that of weathered parchment combined with reds, blues, and yellows. This influence comes from medieval illuminated manuscripts, which used “primary colours for maximum visual impact,” he says.
Drinkwater, who was born in Tasmania and currently lives in Queensland, has pieces available at Cavin-Morris Gallery, Pulp, and Copenhagen Outsider Art Gallery, along with a solo show slated for June at Boom Gallery in Victoria. He recently collaborated with the clothing brand indi + ash to create patterns for some of its garments, which you can see more of on Instagram.
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One hundred colors and 6,000 strips of masking tape later, Tokyo-based French architect and artist Emmanuelle Moureaux (previously) has constructed an elaborate installation of intersecting lines in Kurashiki, Japan. The immersive work, which was a commission from the brand mt, extends from the factory floor to ceiling in a crisscrossing mishmash of diagonals and pigments. To complete the piece, which is part of Moureaux’s 100 Colors series, the artist fastened 15-millimeter tape in a vibrant, rainbow gradient throughout the space, leaving a tunnel-like walkway for visitors to pass through and experience how perspectives shift depending on the angle.
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Set against a backdrop of dried grass, rusted tanks, and debris, a photo series by Dmitry Kokh centers on a small group of polar bears that had taken over an abandoned meteorological station last fall. The dilapidated structures are located between Russia and Alaska on Kolyuchin Island in the Chukchi Sea, a remote tundra the Moscow-based photographer visited on a 1,200-mile expedition in September 2021. “We expected to meet (the polar bears) mostly on Wrangel Island, famous all around the world for being home for many bears. Not this year, as we found out later—maybe because of the very cold summer,” he writes.
Russians built the weather center on Kolyuchin in 1932 before retiring it in the 90s, and it now sits unoccupied along with the rest of the area, which is devoid of residential life. When Kokh and his companions passed the island that’s just 2.8 miles at its longest stretch, they saw the white animals moving through the vacated buildings. The site’s chipping paint, exposed support beams, and generally worn features make the resulting images appear almost post-apocalyptic as the photographer captures the bears wandering the rundown property, poking their heads through the windows, and lounging on the grass.
Kokh’s shot of a bear resting its front legs on a window sill won a National Geographic-organized contest last year, and he also filmed a short video of his visit, which you can watch below. Shop prints of the series on his site, and follow him on Instagram for more wildlife photos.
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Dreamlike Sculptures by Christina Bothwell Meld Ceramic, Glass, and Oil Paint into Otherworldly Figures
From her Pennsylvania studio, Christina Bothwell (previously) sculpts surreal hybrid creatures and figures that occupy the unearthly space between dreams and wakefulness. She works with a combination of annealed glass, pit-fired ceramics, oil paint, and small mosaic tiles, which each correspond to a conceptual element. “I always come back to the idea that the physical part of us is just a small part of who we are in our entirety,” the artist tells Colossal. “The translucent parts of my pieces are meant to suggest the soul or that part of us that is more than just our bodies. The ceramic portions of my pieces represent our grounded, tangible parts.”
In her most recent body of work, Bothwell continues her explorations into the liminal and states of flux: a slumbering child appears to float from its sleeping counterpart in “Lucid Dream,” while another lies upside down in “Mood Swing.” Many of the sculptures are tinged with themes of magic, imagination, and escapism, which are reflected in the ways that human bodies meld with birds, monkeys, octopuses, and deer. She explains:
I was a sensitive child with eccentric parents who didn’t fit in. I didn’t even fit in with my family a lot of the time. It was like I was a changeling or an alien they were forced to live with. I felt like an outsider for most of my life, and it always felt precarious, unsafe, being who I was. For this reason, I think I identify with deer… despite their beauty and grace, they are not protected or valued (at least not where I live), and their vulnerability and innocence resonates with something deep within me.
Bothwell’s fantastical works will be on view at Habatat Gallery and Muskegon Museum of Art as part of the upcoming Beyond the Glass Ceiling, Influential Women in Glass exhibition and again this summer at Tory Folliard Gallery in Milwaukee. Until then, explore more of her sculptures on Instagram.
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An innovative creation of Cornwall-based Green&Blue, Bee Bricks are designed to establish homes within homes. The architectural building blocks can be layered with more typical materials and feature holes of various sizes that allow the fuzzy, winged insects a space for nesting. These multi-purpose bricks are especially crucial as bee populations dwindle due to habitat loss and a changing climate.
Burrowing inches into the blocks made of reclaimed concrete, the narrow openings are targeted at red masons, leafcutters, and other cavity-nesters that live outside of colonies. It’s estimated that the U.K. alone boasts 250 solitary species, which tend to be better pollinators than their social counterparts because they gather the sticky substance from multiple sources, which improves biodiversity.
Bee Bricks have made headlines in recent days after the city of Brighton and Hove announced that all new buildings more than five-meters-tall have to include some form of housing for the solitary creatures. The council’s move follows similar policies in Dorset and Cornwall, in addition to guidelines that establish homes for swifts in new buildings, as well.
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Editor's Picks: Art
Highlights below. For the full collection click here.