“My work arises from the interplay between memory and the present,” says Bogotá-based illustrator Alefes Silva.
Themes of stillness and solitude, growth and death, and love and heartbreak recur in Silva’s drawings, which fuse fantastic plants and animals with human details. In one piece, a nude figure slumps over while trees and small shrubs grow from its back, while another depicts a brilliant, red sapling sprouting from a red-headed woman.
“Each element carries a specific meaning within my work, tied to a moment in memory, part of a dream or desire,” he adds.
Silva balances his practice with editorial commissions from magazines and publishers and personal projects. He’s currently working on four illustrated books, including a gardening diary and explorations of birds and grasshoppers.
Thousands of individual flowers and plants grown in Meggan Joy’s Seattle garden form the contours of her ethereal figures. The artist (previously) collages perfectly trimmed photographs of each specimen into silhouettes lush with color and texture.
In her most recent body of work titled Fever Dream, Joy draws on fear, loss, and the immense potential for pain. “Wide and Wild,” for example, depicts a woman cradling a Eurasian Eagle Owl near her heart. “She’s a piece for when you find your person (whether that be a lover, friend, kids, whatever), and once you have them, you know that if they disappear in any way, you also will be gone,” the artist shares in a statement.
“Wide and Wild”
Others relate to bad decisions yielding positive experiences and how etermal bonds require patience and understanding. Each work, Joy shares, “whisper(s) the components of the stories that tested us and, instead of condemning our faults, reveal that those moments left us the most exciting scars.
Thousands of individual flowers and plants grown in Meggan Joy’s Seattle garden form the contours of her ethereal figures. The artist (previously) collages perfectly trimmed photographs of each specimen into silhouettes lush with color and texture.
In her most recent body of work titled Fever Dream, Joy draws on fear, loss, and the immense potential for pain. “Wide and Wild,” for example, depicts a woman cradling a Eurasian Eagle Owl near her heart. “She’s a piece for when you find your person (whether that be a lover, friend, kids, whatever), and once you have them, you know that if they disappear in any way, you also will be gone,” the artist shares in a statement.
“Wide and Wild”
Others relate to bad decisions yielding positive experiences and how etermal bonds require patience and understanding. Each work, Joy shares, “whisper(s) the components of the stories that tested us and, instead of condemning our faults, reveal that those moments left us the most exciting scars.
Spanning 3,500 years of art, science, culture, and history, Tree: Exploring the Arboreal World surveys the awe-inspiring beauty and romance of trees.
Forthcoming from Phaidon, the volume includes more than 300 illustrations ranging from ancient wall paintings and botanical illustrations to captivating photography and multimedia work by today’s leading artists.
Lori Nix and Kathleen Gerber, “Library” (2007), archival pigment print, 48 x 60 inches. Image courtesy of Columbus Museum of Art, Ohio, and Harn Museum of Art, Gainesville, Florida
Tree takes an expansive approach to the topic, introducing scientific and historical inquiry alongside artistic expression and documentation of the planet’s wide variety of species. From a meticulous diorama of an overgrown library by Lori Nix and Kathleen Gerber and patinated metalwork by Shota Suzuki to ancient Egyptian tomb paintings and stunning dragon blood trees photographed by Beth Moon, the book celebrates the myriad ways we are interconnected with trees.
Charles K. Wilkinson, “Funeral Ritual in a Garden” (1921), tempera on paper, 28 × 48 inches. Image courtesy of Metropolitan Museum of Art/Rogers Fund, 1930Shota Suzuki, “Heaven and Earth” (2023), copper, brass, nickel silver and patina, 8 × 8 × 8 1/2 inches Image courtesy of the artistMaria Magdalena Campos-Pons, “Secrets of the Magnolia Tree” (2021), watercolor, ink, gouache, and photograph on archival paper, triptych, overall 132 x 90 inches. Image courtesy of Museum of Modern Art, New York, and Gallery Wendi Norris, San FranciscoGary Fabian Miller, “Breathing in the Beech Wood, Homeland, Dartmoor, Twenty-Four Days of Sunlight” (2004), dye destruction prints, 64 x 64 inches. Image courtesy of the artist and Victoria and Albert Museum, LondonTosa Mitsuoki, “Autumn Maples with Poem Slips” (c.1675), ink, colours, gold leaf and gold powder on silk, 56 x 108 inches. Image courtesy of Art Institute of ChicagoSheikh Zain-al-Din, “Brahminy Starling with Two Antheraea Moths, Caterpillar and Cocoon on Indian Jujube Tree” (1777), opaque colors and ink on paper, 30 × 38 inches. Courtesy of Minneapolis Institute of Art
Spanning 3,500 years of art, science, culture, and history, Tree: Exploring the Arboreal World surveys the awe-inspiring beauty and romance of trees.
Forthcoming from Phaidon, the volume includes more than 300 illustrations ranging from ancient wall paintings and botanical illustrations to captivating photography and multimedia work by today’s leading artists.
Lori Nix and Kathleen Gerber, “Library” (2007), archival pigment print, 48 x 60 inches. Image courtesy of Columbus Museum of Art, Ohio, and Harn Museum of Art, Gainesville, Florida
Tree takes an expansive approach to the topic, introducing scientific and historical inquiry alongside artistic expression and documentation of the planet’s wide variety of species. From a meticulous diorama of an overgrown library by Lori Nix and Kathleen Gerber and patinated metalwork by Shota Suzuki to ancient Egyptian tomb paintings and stunning dragon blood trees photographed by Beth Moon, the book celebrates the myriad ways we are interconnected with trees.
Charles K. Wilkinson, “Funeral Ritual in a Garden” (1921), tempera on paper, 28 × 48 inches. Image courtesy of Metropolitan Museum of Art/Rogers Fund, 1930Shota Suzuki, “Heaven and Earth” (2023), copper, brass, nickel silver and patina, 8 × 8 × 8 1/2 inches Image courtesy of the artistMaria Magdalena Campos-Pons, “Secrets of the Magnolia Tree” (2021), watercolor, ink, gouache, and photograph on archival paper, triptych, overall 132 x 90 inches. Image courtesy of Museum of Modern Art, New York, and Gallery Wendi Norris, San FranciscoGary Fabian Miller, “Breathing in the Beech Wood, Homeland, Dartmoor, Twenty-Four Days of Sunlight” (2004), dye destruction prints, 64 x 64 inches. Image courtesy of the artist and Victoria and Albert Museum, LondonTosa Mitsuoki, “Autumn Maples with Poem Slips” (c.1675), ink, colours, gold leaf and gold powder on silk, 56 x 108 inches. Image courtesy of Art Institute of ChicagoSheikh Zain-al-Din, “Brahminy Starling with Two Antheraea Moths, Caterpillar and Cocoon on Indian Jujube Tree” (1777), opaque colors and ink on paper, 30 × 38 inches. Courtesy of Minneapolis Institute of Art
“Velvet paintings” may evoke visions of midcentury kitsch, thanks to artists like Edgar Leetig (1904-1953) and a demand for mass-produced decor. But that phenomenon is only a fraction of the history of painting on velvet, a tradition that is believed to have emerged in Kashmir, where the fabric was first produced. The silky material’s fine pile absorbs light, providing a unique substrate for paintings on which pigments appear to float on a contrasting, deep black background.
Mevlana Lipp redefines the genre by meticulously rendering otherworldly botanicals that writhe and spread amid ornamental elements. Acrylic paint, sand, and ink are applied to meticulously cut wooden panels, which are then laid over the top of velvet. Fantastical and glowing as if viewed under a black light or synthesized, the blooms and vines suggest an alternate reality in which plants take on suspiciously human behaviors or features, like hands or eyes.
“My work always has to do with longing for this other place, where things are still connected on a deeper level, where thoughts don’t occur and instincts take over,” Lipp tells Colossal. Interested in the relationship between order and chaos, he often uses symmetry or repetition as a foil to the organic curves of his subjects. In his most recent work, the artist has been experimenting with the theme of a grid or gate.
When Lipp visited Venice earlier this year to see the inaugural exhibition of Capsule Shanghai new location, where he will be presenting a solo show next month, he was fascinated by the burglarproof metal bars affixed to residential windows. “They oftentimes are highly artistic, sometimes floral or more architectural in shape,” he says. “I like the idea that they are like a barrier, separating the inside and outside—these two worlds—and making a transition between these two difficult.”
Conceptually, the grid transforms into what Lipp describes as “a net of responsibilities and social contracts” we all agree to, affording glimpses of what lies beyond yet physically barring entry. In his work, the barriers function as metaphysical gateways between our known realm, our primordial origins, and our ability to comprehend our own evolution. “The place on the other side might be too wild for homo sapiens, but it is still tempting to take a look between the bars from time to time, peaking through a window into our distant, feral past.”
Lipp will also have work soon in the group exhibition TICK TACK at Kunsthalle Recklinghausen in Germany, which opens on August 24. Find more on the artist’s website, and follow Instagram for updates.
“Velvet paintings” may evoke visions of midcentury kitsch, thanks to artists like Edgar Leetig (1904-1953) and a demand for mass-produced decor. But that phenomenon is only a fraction of the history of painting on velvet, a tradition that is believed to have emerged in Kashmir, where the fabric was first produced. The silky material’s fine pile absorbs light, providing a unique substrate for paintings on which pigments appear to float on a contrasting, deep black background.
Mevlana Lipp redefines the genre by meticulously rendering otherworldly botanicals that writhe and spread amid ornamental elements. Acrylic paint, sand, and ink are applied to meticulously cut wooden panels, which are then laid over the top of velvet. Fantastical and glowing as if viewed under a black light or synthesized, the blooms and vines suggest an alternate reality in which plants take on suspiciously human behaviors or features, like hands or eyes.
“My work always has to do with longing for this other place, where things are still connected on a deeper level, where thoughts don’t occur and instincts take over,” Lipp tells Colossal. Interested in the relationship between order and chaos, he often uses symmetry or repetition as a foil to the organic curves of his subjects. In his most recent work, the artist has been experimenting with the theme of a grid or gate.
When Lipp visited Venice earlier this year to see the inaugural exhibition of Capsule Shanghai new location, where he will be presenting a solo show next month, he was fascinated by the burglarproof metal bars affixed to residential windows. “They oftentimes are highly artistic, sometimes floral or more architectural in shape,” he says. “I like the idea that they are like a barrier, separating the inside and outside—these two worlds—and making a transition between these two difficult.”
Conceptually, the grid transforms into what Lipp describes as “a net of responsibilities and social contracts” we all agree to, affording glimpses of what lies beyond yet physically barring entry. In his work, the barriers function as metaphysical gateways between our known realm, our primordial origins, and our ability to comprehend our own evolution. “The place on the other side might be too wild for homo sapiens, but it is still tempting to take a look between the bars from time to time, peaking through a window into our distant, feral past.”
Lipp will also have work soon in the group exhibition TICK TACK at Kunsthalle Recklinghausen in Germany, which opens on August 24. Find more on the artist’s website, and follow Instagram for updates.
