In Tadao Cern’s sweeping installation “French Exit,” a cloud of feathery grasses looms over the room. The immersive artwork juxtaposes the ephemeral, dried material with the viewers who stand underneath as it creates a soothing and introspective space to consider the notions of farewells, whether it be the close of a party or more profound experiences, like the end of a relationship or death.
Cern tells Colossal that the title refers to the colloquialism about leaving a social gathering without saying goodbye. “This is something that I usually do because as an introvert, I can not bear with the attention that you get once you say that you have to go. A ping pong game starts of, ‘I have to go,’ and ‘please don’t go,'” says the Lithuania-based artist (previously) says.
Emitting a soft glow, the long-stemmed grasses connect to both the organic nature of the life cycle and the human desire to situate ourselves within a broader context, particularly when confronted by aging and death. Cern writes:
I tried to focus more on the aspect of what we would be missing the most during the last seconds of leaving this place.. My guess (is that) it would be something banal, like fields of wheat during the sunset… Banality is a result of such a strong love and affection with something/somebody that you even get sick of it. And hanging everything on the ceiling creates an illusion of floating for the viewer as if you are being taken to the sky.
Cern finished initial sketches for the installation—which also includes CGI elements and a massive arrow pointing downward—just before the first wave of the COVID-19 pandemic. Months later, he was diagnosed with depression and anxiety, coincidental timing that altered his understandings of death and how we collectively say goodbye. “Once the pandemic is over, hopefully, we’ll have a chance to contemplate our farewells in reality. If there is such a thing,” he says.
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In just 12 days, Jakarta-based fiber artist Agnes Hansella fashioned a staggering trio of macramé installations that hang from a ceiling in Bali. Each of the knotted works spans more than 37 feet wide, cloaking the open-air structure in fringed fibers that evoke the coastal surroundings of Jimbaran. Titled “Mountain,” “Ocean,” and “Sunset,” the wall hangings reflect the natural environment through asymmetric patches reminiscent of coral, waves, and birds.
Alongside a team of artists she hadn’t worked with previously, Hansella cut manila ropes with a hacksaw and balanced on scaffolding to assemble the massive works. All three began with rough sketches and evolved on-site. “I was never good with drawing pictures, so the finished design is mostly something I came up with on location. I change them a lot based on my instinct and situation. With macramé techniques, the ropes have their own will and character so as the artist I follow them and see what can and can not work,” she tells Colossal. The trio was commissioned by Flowerbloom Studio.
Currently, Hansella is working on a smaller work for a villa in Bahrain and plans to explore tufting and fiber sculpture in the coming months. She sells macramé supplies, wall hangings, and functional objects in her shop, and you can follow her latest projects on Instagram.
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Spread across a thick field of leeks in the Netherlands is Daan Roosegaarde’s new installation that illuminates the practice of modern farming, highlighting the plants that feed us and their plights. In “Grow,” the Dutch artist and designer, who’s known for glowing, interactive exhibits, implanted the rows with red, blue, and ultraviolet lights that shine vertically across the crop and shift in entrancing motion.
Spanning 20,000-square-meters, the multi-faceted project is both aesthetic and practical: the radiant landscape is visually stunning, while the embedded elements enhance plant growth and cut pesticide use in half. Roosegaarde worked with existing photobiological technology and distinct “light recipes” that are thought to improve crop resistance and their metabolisms without added chemicals. “It gives a new meaning to the word ‘agri-culture’ by reframing the landscape as a living cultural artwork,” the studio says in a statement.
In a conversation with Dezeen, Roosegaarde noted that a trip to a local farm spurred the project, which the designer now hopes will act as a blueprint for similar works. The Netherlands is the second-largest agricultural exporter in the world—the U.S. is first—and is known for innovating more sustainable technologies. With some shifts in the combination of lights and placement, this singular project could have wide-reaching implications for crop production around the world.
“Grow” took Roosegaarde’s studio about two years to complete and is part of Rabobank’s artist-in-residence program. It’s slated to tour 40 countries in the coming months. For more of Roosegaarde’s work that falls at the intersection of art, design, and science, head to Instagram.
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Last week, artist Olafur Eliasson (previously) unveiled a massive, wave-like artwork that mimics the rippled surfaces of the Chicago River and Lake Michigan. Comprised of 1,963 curved tiles, “Atmospheric wave wall” sits between the two bodies of water at Willis Tower and shifts in appearance based on the sunlight, time of year, and position of the viewer. It’s the Danish-Icelandic artist’s first public project, which was curated by CNL Projects and commissioned by EQ Office, in Chicago.
Speckled with orange pieces, the blue-and-green motif is constructed with powder-coated steel and based on Penrose tiling, a design with fivefold symmetry, which fills the undulating border. At night, a light shines through the street-side work, emitting a glow through the tile seams and further altering the appearance of the textured facade. Eliasson says about the work:
Inspired by the unpredictable weather that I witnessed stirring up the surface of Lake Michigan, ‘Atmospheric wave wall’ appears to change according to your position and to the time of day and year. What we see depends on our point of view: understanding this is an important step toward realizing that we can change reality.
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Step into Claudia Bueno’s aquarium-style installation at Meow Wolf’s new space in Las Vegas and experience the slow, oscillating movements of natural life. “Pulse” is comprised of countless white line drawings that are meticulously intertwined and superimposed on 60 glass panels. When illuminated, they mimic scores of nautilus spirals, coral, vines, and botanics that sway and throb in glowing masses.
“This is what ‘Pulse’ is, a way of creating animated volumes using layers of drawings that build up. I have been refining this technique for the last six years, understanding how these forms can also have a moving quality when the light system is applied,” the Venezuela-born artist says, noting that the idea for the project grew out of a visit to Yellowstone National Park.
During the course of eight months, a team of women painstakingly painted the glass panels at Bueno’s Idaho studio. “The repetitive/meditative quality of the work lent itself to provide a very special healing space for us as we drew fine lines for hours and openly shared and supported each other,” she says. No matter the scale of the project, Bueno begins with a single dot that she duplicates, expands into lines, and eventually into intricately developed patterns, which she explains:
It seems like it doesn’t matter what size, materials, and tools I am working with, the same kinds of patterns manage to manifest themselves over and over, building on each other, gaining both complexity and simplicity at the same time… It has been an interesting brain challenge to visualize a stack of 2D drawings that then become 3D and move. It’s my own version of a non-digital, hand-drawn time-lapse or animation.
Although much of the installation’s work is complete, Bueno shares that she’s creating smaller sculptures, jewelry, and other works to coincide with the larger project. “Pulse” is set to premiere at Meow Wolf’s satirical sendup of consumerism, Omega Mart, which the Santa Fe-based arts group (previously) will soon open within Area 15 in Las Vegas. Until then, watch the video above by Adolfo Bueno and find more of Bueno’s light-based works on her site and Instagram. Video by Adolfo Bueno.
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Japanese artist Azuma Makoto (previously) is known for shifting the contexts in which we typically view florals—think encasing bouquets in blocks of ice or suspending them in the stratosphere—through installations and designs that blur the boundaries between art and botany. Shown here is a 2018 project titled “Frozen Flowers” from Makoto’s In Bloom series. The undertaking brought the artist to Notsuke Peninsula in Hokkaido where he doused open blossoms and greenery in water. Positioned against the stark, snowy landscape, the resulting arrangement is frozen in its original splendor, allowing the vibrancy of the flowers to peek through the icicles.
“The place where this installation was held in Hokkaido is also called the end of the world since blighted pine trees are usually spread out there and that place freezes over in winter,” says Makoto’s studio. “It was the series of how Azuma pursued unknown possibilities of flowers and how flowers express themselves under this condition.”
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