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If you’re in the U.S., you’re either just coming out of or in the middle of a heat wave. Our increasingly hot summers can be devastating for our health, but at least we’re not made of wax. This past week, a Washington, D.C. sculpture of the nation’s 16th president, Abraham Lincoln, became another casualty of global warming.

In fact, poor Abe has suffered quite a bit this past year. The 6-foot-tall sculpture created by artist and University of Richmond assistant professor Sandy Williams IV has had to be taken in for reconstruction twice now.

Williams did intend for the Lincoln sculpture to melt, but only a bit. In September 2023, with over a 100 candle wicks in it, the artwork was prematurely lit by community members. The wicks were meant to be used, but only for a minute or two, and not every single one at once. Without any signage explaining the fact, passersby saw the sculpture, lit the wicks, and left without snuffing the flames out. This all happened before its official unveiling.

The sculpture was reinstalled this past February with only 10 wicks and signs making it clear to only to let flames burn briefly. The Lincoln sculpture was 3,000 pounds with a congealing point of 144°F, so it was expected to be safe for the immediate future. However, Washington, D.C.’s heat last weekend was too much for the Great Emancipator. First his head started leaning back, and social media users joked that maybe Honest Abe was having trouble coping with the current state of American politics. Then, one of his legs turned into a blob.

“I previously had joked that when our climate gets bad enough to where we are living in an environment where the ambient heat melts these sculptures, that’s when this work becomes an environmental artwork,” Williams admits. “I didn’t know that was going to be this summer.”

While the piece forebodingly became a commentary on climate change earlier than expected, the statue was always meant to be political. It was installed outside of Garrison Elementary School as part of Williams’ Wax Monument Series. Entitled 40 Acres: Camp Barker the piece commemorates the spot of a Civil War era refugee camp for formerly enslaved African Americans. Williams wanted to bring attention to the history of formerly enslaved folks during and after the Civil War, as the historical canon tends to skip this essential information.

In a phone call with Intelligencer‘s Matt Stieb, Williams stated, “I have no qualms with wherever people take it. I think that is what public artwork is about. That’s what I think [I] love most about public art. The thing that makes me most uncomfortable and the thing I love the most is that I never know what’s going to happen and it’s totally outside of my control.” It seems as though they can appreciate the memes that melting Abe has inspired.

The wax monument should be back on display, good as new, this week. However, they might want to invest in getting him an air conditioner.

Artist Sandy Williams IV created a wax statue of President Abraham Lincoln, which was installed outside of Garrison Elementary School in Washington, D.C.

 

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Unfortunately, the 6-foot-tall sculpture began to rapidly melt during a heatwave.

A heat wave hit the DMV area over the weekend, and one of the country's leaders paid the price. A wax sculpture of Abraham Lincoln began to melt from the temperatures and lost its head: https://t.co/DycXdkPgSM pic.twitter.com/d6LqeaRMOI

— Local 12/WKRC-TV (@Local12) June 25, 2024

Though it was created with the intention of melting, the rising temperatures in D.C. expedited expectations.

another look at the wax lincoln sculpture in dc that melted during the heat wave pic.twitter.com/Wq3v0GCvUD

— Spencer Allan Brooks (@SpencerSays) June 24, 2024

Needless to say, the “headless Lincoln” melting statue made national headlines…

…and gained some funny reactions.

This is a shame. No one can hold a candle to him.

— Ross Duckham (@RossDuckham) June 25, 2024

How your email finds me⬇️ https://t.co/RbG146Nb7W pic.twitter.com/jBvjn8M8FU

— Zack Brown (@ZackBrownDC) June 23, 2024

Even our monuments are exhausted by our politics.

— Grover One (@groversmith1) June 23, 2024

This perfectly sums up how things are going.

— StandUnited1776(Matthew) (@StandUnited76) June 25, 2024

pretty decent symbol of America at only 1.2°C of global heating https://t.co/3hASCMxSJ2

— Dr. Genevieve Guenther (@DoctorVive) June 24, 2024

Sandy Williams IV: Website | Instagram
h/t: [BBC News]

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READ: Abraham Lincoln Wax Statue Melts From Extreme Heat in Washington, D.C.

MYSTERIOUS MONOLITH!

We see a lot of weird things when people go hiking like not being prepared for the weather, not bringing enough water… but check this out!
Over the weekend, @LVMPDSAR spotted this mysterious monolith near Gass Peak north of the valley. pic.twitter.com/YRsvhJIU5M
— LVMPD (@LVMPD) June 17, 2024

A new monolith emerged in the Las Vegas desert, prompting the question: could it have been aliens or something much more human? For many, the sudden and ominous appearance of this reflective structure triggered memories of similar perplexing art installations in the past.

On Monday, June 17, the Las Vegas Metropolitan Police Department (LVMPD) shared the new sighting of the monolith on X (formerly Twitter). According to the LVMPD, their Search and Rescue Unit (LVMPDSAR) discovered this structure a few days earlier on the Gass Peak trail north of Las Vegas. It stands 77 inches tall and each side is 13 inches wide. As the LVMPD later explains, “It was made out of reflective sheet metal folded into a triangle and secured with rebar and concrete.”

The original social media post issuing a statement about the monolith sparked a range of reactions. Some users proposed science fiction theories, while others dismissed it as a cheap and obvious stunt. The structure has also been viewed as a striking piece of art, with calls for its protection from potential vandals. However, many consider it a form of vandalism against the natural landscape.

“Littering. Hope you fine whoever dumped that…. Might as well be an old TV or mattress,” wrote one user in response to the post on X. Many comments, however, reminisce about the monoliths discovered a few years ago, remembering the same intrigue and mystery they inspired.

In November 2020, amidst a desert canyon in Utah, staff from the Utah Department of Public Safety (DPS) discovered a monolith. The silver pillar, distinctly less reflective than the one found in Las Vegas, was soon sensationalized. While the DPS didn’t disclose its exact whereabouts out of safety concerns, individuals soon found its location using Google Earth and publicly posted the coordinates. Many vehicles ventured off-trail to reach the remote structure, causing controversy over the impact on the natural surroundings.

Less than two weeks later, four individuals removed the monolith. According to a photographer who witnessed the scene, one of the men remarked, “This is why you don’t leave trash in the desert.” The Utah monolith’s origins remain a mystery. Speculation suggests that it could be the work of John McCracken, who passed in 2011, or a tribute to him due to the similarity to his minimalist sculptures.

Since the first monolith appeared in Utah, these mysterious structures have emerged across the globe in various countries on almost every continent. Individuals have reported monoliths in over 20 states in the United States and more than 15 European countries, including notable monoliths in Romania, the Netherlands, and Wales. In many cases, local authorities swiftly removed these structures.

A few monoliths break this trend. In Pine Mountain, California, the artists behind them are metalworkers Travis Kenney, Randall Kenney, Wade McKenzie, and Jared Riddle. A local English designer, Tom Dunford, claimed he had left the one on England’s southern coast, inspired by the Utah monolith.

These revelations disputed supernatural claims and confirmed that instead of one group creating these anonymous structures, the Utah monolith likely sparked a trend of mostly anonymous, randomly appearing rectangles.

Several users posted detailed instructions on reaching the Las Vegas monolith to those unfamiliar with the trail and area. However, on June 21, the LVMPD announced that they helped remove the monolith and that it is “being stored at an undisclosed location while public authorities determine the most appropriate way to dispose/store the item.”

A new reflective monolith appeared near Las Vegas, creating supernatural intrigue and artistic inspiration in its wake.

While the internet gets to work on this mystery, remember: when enjoying our incredible outdoors, use the TRAIL acronym: pic.twitter.com/M5ghlTRPF6

— LVMPD (@LVMPD) June 17, 2024

It joins the pattern of monolith emergences that began in late 2020, when the first mysterious block was discovered in the Utah desert, inspiring many similar structures to appear around the world.

 

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The newest monolith near Gass Peak has since been removed by the Search and Rescue team, though it's still unclear how it got there in the first place.

It is being stored at an undisclosed location while public authorities determine the most appropriate way to dispose/store the item. It is 77” tall and each face is 13” wide. It was made out of reflective sheet metal folded into a triangle and secured with rebar and concrete.

— LVMPD (@LVMPD) June 21, 2024

The LVMPD discourages anyone from venturing off marked trails or leaving objects and items behind. This poses a danger to you and the environment.

⚠️As a reminder, Desert National Wildlife Refuge, managed by the U.S. Fish and Wildlife Service, encompasses over 1.6 million acres.

— LVMPD (@LVMPD) June 21, 2024

Visitors to the refuge are welcome, but those wishing to explore the refuge should be mindful of the environmental impact of their visit and should be prepared to navigate rough 4×4 roads without cell phone reception or access to water.

— LVMPD (@LVMPD) June 21, 2024

Las Vegas Metropolitan Police Department: Website | Facebook | X
h/t: [IFL Science, CNN]

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READ: Mysterious Monolith Pops Up in Las Vegas Desert and No One Knows Who Put It There

Korean conceptual artist Kimsooja was given carte blanche to create a massive installation inside Paris' Bourse de commerce, which is home to the Pinault Collection. The result is To Breathe – A Constellation, which is on view along with many other works as part of the Le monde comme il va (“The World as It Goes”) exhibition. By placing mirrors on the floor of the rotunda, Kimsooja alters the reality of the space and transforms Tadao Ando‘s architecture.

As visitors enter the space, their bodies are reflected back at them, positioning them within the artwork itself.  The piece echoes the artist's desire to create participatory art. “I would like to create works that are like water and air, which we cannot possess but which can be shared with everyone,” Kimsooja says.

“By using [the mirror], our gaze acts like a sewing thread that moves to and fro, entering into the depths of our self and of the other, reconnecting us to their reality and inner world. A mirror is a fabric woven by own gaze in an ebbing and flowing motion.”

By becoming actors in the piece's narrative, visitors simultaneously view the art and become the art. By blurring these lines, Kimsooja implicitly asks us to think about the cause and effect of our own actions and how they impact the collective whole.

But the artist's contribution to the exhibition doesn't end in the rotunda. She has also taken over 24 display cases in other areas of the museum to showcase her vast catalog of works and video installations. These pieces speak to the recurring themes found in her work, which include identity, borders, memory, exile, movement, and the use of weaving.

Le monde comme il va is on view at the Bourse de commerce until September 2, 2024. The exhibition also includes work by Jeff Koons, Cindy Sherman, Maurizio Cattelan, Sigmar Polke, and many others, alongside Kimsooja.

The Pinault Collection gave Korean conceptual artist Kimsooja carte blanche to create a massive installation inside Paris' Bourse de commerce.

For To Breathe – A Constellation, the artist placed mirrors across the rotunda floor.

“I would like to create works that are like water and air, which we cannot possess but which can be shared with everyone.”

Kimsooja's work is on display until September 2 as part of the The World as It Goes exhibition.

Kimsooja: Website | Instagram

My Modern Met granted permission to feature photos by Bourse de Commerce – Pinault Collection.

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“Vénus Italica.” Sculpture is again given the place of honour in this gallery through Canova, Pradier and even Praxiteles. However, Wim Delvoye’s intervention is quickly felt when our eye attempts to follow a marble traversing Venus’ body, which has become a circuit.  (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

Artist Wim Delvoye has made a career out of provocatively examining how society classes art and its role in the market economy. In the past, that’s led to tattooing pigs, and even a human who is now contractually obligated to go on display three times a year. His recent exhibition, titled The Order of Things, while less grisly, demonstrates his continued use of irony to poke holes, sometimes even literally, into the hierarchy that the art world imposes on artists and their works.

Delvoye is the fourth artist to participate in the carte blanche XL exhibition at the museum. The intention with carte blanche XL is to let artists curate shows that feature their own work along with the museum’s in order to interrogate the relationship between “the museum’s connection to its collections and institutions.” Combining neoclassical sculptures such as the Venus Italica and modern art by the likes of Warhol, Delvoye upends the traditional narrative of art history. Further complicating matters, the Belgian artist has made copies of the works that are punctuated by tracks with steel balls circuiting around. In this manner, priceless works of art turn into something more fitting for a toy store. The ever innovative artist also used artificial intelligence to create some of his works, stating, “ I wrote a program that does the work for me actually… It's beautiful because the computer does it better. It has no emotions. It doesn’t see [a] nose or eyes.”

Delvoye was an especially apt choice for artist-curator of the carte blanche XL as he is also an art collector and included his archives in the exhibition. Unsurprisingly, considering his history of questioning how art is valued, he features many works that are often unnoticed in the museum. Delvoye notes that often great art, especially of the old masters, is priced less than contemporary art which moneyed collectors look at as investments foremost over their aesthetic quality.

Delvoye's The Order of Things is currently on display at Museum of Art and History in Geneva, Switzerland, through June 16, 2024.

Belgian conceptual artist Wim Delvoye acted as artist-curator for Geneva's Museum of Art and History's fourth carte blanche xl exhibition.

“Ball Track Venus Italica.” (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

“Venus Italica” or “Venus Coming Out of Her Bath” by Antonio Canova and “Ball Track Venus Italica” by Wim Delvoye. (Photos:© Musée d’art et d’histoire de Genève/ B. Jacot-Descombes/© Studio Wim Delvoye)

Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger

Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger

Twisting sculpture based on “Venus and Adonis” by Antonio Canova. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

Delvoye forces viewers to examine classic works with a new perspective.

“La peur du vide.” As the name indicates, this room explores the artistic repercussions of the phenomenon of horror vacui, which refers to an ornamental practice aiming to fill the totality of a surface or an object with features and details to replace the empty with the full. The installation reveals our culture’s passion for ornamentation to decorate and fill the surface of both noble and functional objects from many areas. Car bodies, shovels and suitcases emerge as symbols of a full arsenal of protection. From historical helmets to fire extinguishers, from dishes to cars, ornamentation distinguishes functional objects as unique pieces. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

“Dual Möbius Quad Corpus” is the title of a well-known Wim Delvoye piece in polished bronze that depicts four Christ-like bodies intertwined and seeming to reinforce the strip of the same name. The rectitude of the crucifix disappears, and the passion of Christ finds new expression in this enigmatic twist. However, in using the stained glass windows from the fifteenth century, the artist deepens his reflection on movement. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

“Knocking on Heaven’s Door.” With a replica of the tower of Brussels in laser-cut stainless steel, this room hosts one of Delvoye’s “Gothic” style symbols. In this period room of the museum, the Castle of Zizers’ Ceremonial Room, the tower is alongside a model of the Scaligeri funerary monuments in Verona, which inspired the Brunswick Monument.(Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

With his trademark humor, Delvoye commits an act of “philosophical vandalism” as the museum's director calls it, subverting the preciousness of what are considered priceless objects.

“Untitled (Engraved Helmet)” by Wim Delvoye and Morion (c. 1570-1580) unknown. (Photo credits:© Musée d’art et d’histoire de Genève/ F. Bevilacqua/© Studio Wim Delvoye)

“Rimowa Classic Flight Multiwheel” by Wim Delvoye and “Ceremonial Roundel” (c. 1557-1560), attributed to Eliseus Libaerts (1557-1572).  (Photos:© Musée d’art et d’histoire de Genève/N. Sabato/© Studio Wim Delvoye)

“The Order of Things” Installation + “St-Francis Xavier” (c. 1700). (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

“Le juste retour des choses.” By bringing together old paintings from Delvoye’s own collection, remarkable paintings from MAH’s storerooms and famous names like Raphael, Picasso, Warhol and even Lucas Cranach, this space is immediately distinguished by the breadth of the questions it invokes. But its unique quality is the vast marble circuit that traverses the room and even through some of the pieces (that do not belong to the MAH).  (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger

“L'ordre des choses.” This part of the installation, which borrows the exhibition’s overall title, returns to the passion of collecting and immerses us in the artist’s personal obsessions. Here, we find Delvoye’s collection of Vache qui rit ® cheese box labels and four display cases that combine the artist’s and the museum’s coin collection. Who is more enthusiastic, the tyrosemiophile (collector of cheese labels) or the numismatist (coin collector)? (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

“Room Fait à la main.” Plunged into darkness, this gallery plays an impressive perceptual and conceptual magic trick. With detonators alongside their madrier planks designed to blow open doors during a military siege and hand-carved tyres (again among Delvoye’s iconic work), the artist seems to be playing with the museographic codes reserved for contemporary and conceptual art. (Photo: © Musée d’art et d’histoire de Genève/Stefan Altenburger)

Wim Delvoye: Website | Instagram | Facebook
Musee d'Arte et d'Histoire: Website

My Modern Met granted permission to feature photos by Musee d'Arte et d'Histoire and Studio Wim Delvoye.

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Photo: Tõnu Tunnel

Over the last several years, cities have smartly turned decaying industrial grounds into areas for public leisure. But doing this often comes with a question—is it better to tear down the old structures or refurbish them to maintain the aesthetic? A new installation brought to life by design agency Velvet and lighting design studio UN-LIKE seems to marry the character of the past with the whimsy of the future. Aptly titled Nest, the artwork now lights up the night in Tallinn, Estonia. And it all began with an idea by a 5-year-old.

Nest is located in the Noblessner port, which was a major submarine shipyard in the early 20th century. Specifically, it is nestled at the top of a former lighting mast. When real estate developer Merko Ehitus Eesti launched an idea competition for what to do with the old tower, a Velvet employee asked his little niece, Stina Onemar, to come up with an idea during a ferry ride. “There was this post where Aunt Helen wanted to do something. I had an idea that there would be eggs and stuff,” Stina recalls.

And so, the little artist drew the concept for the installation, giving the team something to work with. The eggs are made from polyethylene using rotational molding technology, while the branches are made of leftover roof edge trim, as it had the necessary flexibility for bending and weaving around the steel frame to support the eggs. The material also acts as a reflector for the installed lighting, producing an even brighter scene.

Crafted with repurposed materials, Nest also takes into account the wear of the piece. The eggs have been tested to withstand the sea and frost conditions, while the steel nest is painted to match the rusted mast. With time, the patina will increasingly blend in with the tower where it has been placed. Overall, material choices were made with minimal need for maintenance in mind.

Drawing from the concept of storks' nests increasingly becoming intertwined with man-made elements, the creators aimed for the piece to seamlessly blend in with the urban fabric. “The artwork’s figure weaves together the motif of the nest—building homes and bringing life into them. It all fits perfectly,” says design leader Kristel Linnutaja.

To stay up to date with the designers' next projects, you can visit Velvet's website.

Nest, a new installation by design agency Velvet and lighting design studio UN-LIKE, marries the character of the past with the whimsy of the future.

Photo: Tõnu Tunnel

The artwork, which lights up the night in Tallinn, Estonia, depicts a large bird's nest atop an old lighting mast.

Photo: Tõnu Tunnel

The idea for this installation came from 5-year-old Stina Onemar, during a ferry ride. She even made a drawing of the concept.

Drawing by Stina Onemar

“There was this post where Aunt Helen wanted to do something. I had an idea that there would be eggs and stuff,” says Stina.

Photo: Aivo Kallas

The eggs are made from polyethylene using rotational molding technology, while the branches are made made of leftover roof edge trim.

Photo: Tõnu Tunnel

The material also acts as a reflector for the installed lighting, producing an even brighter scene.

Photo: Tõnu Tunnel

Crafted with repurposed materials, Nest also takes into account the wear of the piece.

Photo: Tõnu Tunnel

The eggs have been tested to withstand the sea and frost conditions, while the steel nest is painted to match the rusted mast.

Photo: Tõnu Tunnel

Drawing from the concept of stork nests increasingly becoming intertwined with manmade elements, the creators aimed for the piece to seamlessly blend in with the urban fabric.

Photo: Tõnu Tunnel

“The artwork’s figure weaves together the motif of the nest—building homes and bringing life into them. It all fits perfectly,” says design leader Kristel Linnutaja.

Photo: Tõnu Tunnel

Velvet: Website | Instagram
UN-LIKE: Website 

My Modern Met granted permission to feature photos by Velvet.

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LA-based art duo HYBYCOZO is celebrating its 10-year anniversary with a massive public art installation. DIMENSIONS is the fruit of three years of research and features 44 of the luminous polyhedral shapes the duo is known for. Visitors will walk among the intricately designed interstellar village when visiting Sensorio, an immersive light exhibition in Paso Robles, California.

DIMENSIONS includes four large sculptures that visitors can actually walk inside, including a centerpiece that can hold 20 people at a time. Yelena Filipchuk and Serge Beaulieu, the artists behind HYBYCOZO, are driven by the idea of fostering a more interconnected society and living in a close-knit community. As such, their light installations provide a journey toward these ideals.

For a full sensory experience, HYBYCOZO also collaborated with musician Allen Hulsey. Hulsey has produced a 33-minute soundtrack that will accompany visitors on their journey through the installation.

Seamlessly blending art and nature, DIMENSIONS is a rumination on light and music, shadow and pattern, and environment and form. The work continuously transforms, with each small change having a sensorial consequence that allows visitors to truly understand the cause and effect of every action.

“DIMENSIONS was created to transport visitors to another world,” the artists say. “A place that transcends time and space by connecting the universal languages of geometry, light, and music together.”

DIMENSIONS is the newest exhibition to open at Sensorio, which has been home to Bruce Munro's dazzling Field of Light installation since 2019. HYBYCOZO's contribution to the space opens on May 24, 224, just in time for the Memorial Day weekend.

DIMENSIONS is a new public art installation by artistic duo HYBYCOZO.

The installation is a full sensorial experience that includes over 40 of the luminous polyhedral shapes that HYBYCOZO is known for.

“DIMENSIONS was created to transport visitors to another world. A place that transcends time and space by connecting the universal languages of geometry, light, and music together.”

DIMENSIONS is on view at Sensorio in Paso Robles, California.

HYBYCOZO: Website | Facebook | Instagram
Sensorio: Website | Facebook | Instagram

My Modern Met granted permission to use photos by HYBYCOZO.

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Yoko Ono, “Add Colour (Refugee Boat),” concept 1960, installed in YOKO ONO: MUSIC OF THE MIND, Tate Modern, London, 2024. (Photo: © Tate, Reece Straw)

First conceived in the 1960s, Yoko Ono's Add Colour series invites people to participate in creating a collective piece of art. With Add Colour (Refugee Boat), currently installed at London's Tate Modern, Ono asks us to think about the power of collective action in relation to today's immigration crisis.

The current iteration, which is part of the Tate's YOKO ONO: MUSIC OF THE MIND exhibition, began with a white boat in a white room. Visitors are given a blue marker and asked to write messages of solidarity and peace or concern for themselves and today's minorities. Over time, the space transforms into a vast blue ocean of thoughts and ideas, becoming a container for different perspectives.

The installation, which was first realized in 2016 and has been mounted in museums worldwide, is close to Ono's heart. Though not a refugee herself, Ono immigrated from Japan to the United States in 1952 and faced her own challenges as an Asian woman. As such, she empathizes with those who are forced to leave their homes and was moved by the imagery she saw on the evening news.

“Just like you probably did, when I saw the boat with many people in it, it hit me, and I clearly heard my heart going, bump, bump, bump!” she told The Guardian in a 2019 article about the piece. “But at the same time, I immediately thought it’s a good subject for me as an artist. I wanted to share that feeling I had in my heart with the audience and invite them to participate.”

By giving space to anyone who desires to participate, Ono allows the public to openly express their feelings on the topic. And in doing so, perhaps sparks action in individuals who can see the tangible, visual result of the collective whole. In this way, Add Colour (Refugee Boat) is also a physical manifestation of Ono's belief that “we are sharing this world,” and therefore have a responsibility to it.

Add Colour (Refugee Boat) is on view at the Tate Modern, along with over 200 other works by the artist, until September 1, 2024, as part of the YOKO ONO: MUSIC OF THE MIND exhibition.

Add Colour (Refugee Boat) is a participatory piece of art by Yoko Ono that speaks to the current refugee crisis.

Photo: © Tate (Reece Straw)

Participants are asked to write down their messages in blue, creating an ocean of hope.

Photo: © Tate (Lucy Green)

The work is currently on display at London's Tate Modern, which is hosting a retrospective of Ono's work.

Photo: © Tate (Reece Straw)

Yoko Ono: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Tate Modern.

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Murals can bring new life to the most ordinary spaces. An artist known as Bihuashiyuge proves this time and time again by transforming large walls into wonderful artistic compositions. Using a variety of materials such as plaster and paint, the China-based artist takes viewers on a visual journey.

“Join me as I explore the world of wall design and bring creativity to life in the most unique and inspiring ways,” the muralist states on  her YouTube channel. “From mesmerizing murals to stunning patterns, I'll take you on a journey of innovative techniques and imaginative ideas that will transform any space into a work of art. Get ready to be amazed and inspired as we explore the endless possibilities of wall design together!”

Through social media, Bihuashiyuge shares the creative process behind her bad-relief works of art, which seem to leap right off the wall. With reference photos in hand, the artist begins applying materials to the massive surface. Her installation of the Great Wall of China is positively mesmerizing.

As seen in her videos, the muralist starts with heaping slabs of putty she slaps onto the wall that serves as her large canvas. She creates a 3D composition by shaping and carefully carving bricks, steps, and more into the malleable material. She does so at varying lengths and angles to mimic depth, and then adds a range of greens, browns, and blues to animate the landscape. Once it’s complete, it's almost as if you could step foot right into one of the New Seven Wonder of the World.

Scroll down for more mesmerizing videos of Bihuashiyuge's process. To stay up to date with her latest creations, you can follow the artist on Instagram.

A muralist known as Bihuashiyuge transforms large-scale spaces into remarkable compositions.

Layering different materials together, she creates depth and texture.

Relief Mural Art…. pic.twitter.com/VYJmlZNBxD

— Relief Mural Art (@Reliefmuralart) March 30, 2024

Her bas-relief sculptures turn the wall they’re on into the spectacular focal point of a room.

Watch as she transforms an ordinary space, into something colorful and extraordinary.

Believe in yourself! Have faith in your
abilities! Without a humble but
reasonable confidence in your own powers you cannot be successful or happy. #mural #art painting
artgallery #artwork #artist #muralist@Reliefmuralart @ArtofLiving@srkntnyldz @mural_pay pic.twitter.com/c0bejSlQSB

— Relief Mural Art (@Reliefmuralart) April 3, 2024

Believe in yourself! Have faith in your
abilities! Without a humble but
reasonable confidence in your own powers you cannot be successful or happy. #mural #art #painting
artgallery #artwork #artist #muralist@Reliefmuralart @ArtofLiving@srkntnyldz @mural_pay pic.twitter.com/MM8zqI8OqU

— Relief Mural Art (@Reliefmuralart) April 4, 2024

“I cannot express how important it is to believe that taking one tiny—and possibly very uncomfortable—step at a time can ultimately add up to a great distance.”♥️ #mural #art #painting#artgallery #artwork #artist #muralist#earthquake #sigara #artworkอซทซ pic.twitter.com/6ThjrOm6FJ

— Relief Mural Art (@Reliefmuralart) April 4, 2024

Bihuashiyuge: Facebook | Instagram | X | YouTube

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READ: Stunning Bas-Relief Murals Transform Ordinary Walls Into Immersive Spectacles

Wales-based artist Jon Foreman explores the calming presence of nature in his magnificent land art installations. He practices his art “as an escape from the stresses of everyday life.” In one of his most recent work, titled Manifold Spiral, Foreman utilizes on-site materials to create a rock sanctuary of sorts.

Constructed off the coast of Pembrokeshire, Wales, with the assistance of Terence Wakefield and Osk, Manifold Spiral consists of carefully arranged rocks in a circular formation. This curated coil of minerals is situated on a beach, nestled between other rocks that are sunken into the sand. In the distance, the shoreline is illuminated by bright, warm sunlight. Waves ripple in the background, and clouds dance in the sky above, adding a fluffy texture to the scene.

By collecting stones found in the natural surroundings, Foreman further emphasizes the intrinsic beauty of Mother Nature. Each of his carefully crafted compositions seem as if a sea creature has washed upon shore and planted roots on a bed of sand.

Walking the land to gather stones and then arranging them in the desired pattern—whether it be a Golden Ratio-like spiral, a color-coordinated geometric shape, or a simple circle—establishes a relationship between the artist and his earthy materials. Temporality and the uncertain behavior of nature impact the longevity of the artist's work. A strong wave that crashes upon the shore could easily tamper with the composition, and he fully surrenders to this risk. The unpredictable and ephemeral, combined with these natural resources inspire Foreman to honor the enchanting characteristics of nature. Fortunately, most viewers experience the magnitude of his work through photography and short films.

The land artist focuses on “different” elements that come together to create micro landscapes. Finding new purpose in everything from leaves and tree roots to mud and rocks, his art is incredibly meditative. Foreman experiments with several artistic components such as scale, texture, materials, and location of installation. His creative vision knows no bounds.

To stay up to date with Foreman's art, you can follow him on his Instagram. You can also purchase prints of his artwork from his SmugMug shop.

Jon Foreman is a land artist who uses various natural materials to create stunning installations.

Foreman utilizes stones, shells, and other natural elements of various shapes, sizes, and textures that highlight the varying art materials that can be found in nature.

Often created near bodies of water, his works are at the mercy of the unpredictable behaviors of Mother Nature.

Foreman’s micro landscapes create visual narratives that comment on the relationship between humans and nature.

The simple geometric forms come together to create meditative compositions that transport you to the most serene state of mind.

There is even a short film that briefly addresses many of his works over the past year.

Check out an interview he did with CBS Sunday Morning to learn more.

Jon Foreman:  Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Jon Foreman.

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READ: Artist’s Captivating Land Art Emphasizes the Magnificence of Materials Found in Nature

 

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Una publicación compartida por JR (@jr)

Milan’s Stazione Centrale is home to JR‘s latest installation—a daring piece that sees the artist challenge himself to try something new. In La Nascita (The Birth), JR trades his signature medium of paper and glue for scaffoldings in the name of sculptural anamorphosis. In other words, by trasferring a distorted image onto a layered, three-dimensional setting, the artist creates different optical illusions that reflect on the origins of the station.

For this installation, JR transformed the entrance to Milan's Central Station and the Piazza Duca d’Aosta into a rocky landscape. The piece retells the origins of the train station. After the opening of the Simplon Tunnel in 1906, which connects Italy with Switzerland and France through the Alps, King Victor Emmanuel III laid a symbolic foundation of stone for the new central train station. As such, the installation weaves the cavernous formations that preceded the tunnel into the building’s unique mix of classical Roman, eclectic, rationalist, art nouveau, and art deco architecture.

La Nascita is made up of a series of printed images of rock formations plastered onto aluminum slats. “The monumental trompe-l'œil blurs the boundaries of time and place, fashioning a surreal architectural fantasy that draws a link between the grandeur of the station today and its history,” the artist's statement explains. The piece also approaches the human need to explore and venture into the unknown. Much like those who built it, visitors are called upon by the depths of the cave.

In addition to the main scaffolding on the station's façade, JR affixed smaller structures on the ground, creating a piece that commuters can further explore. Committed to the low impact of his pieces, all the materials used in this monumental installation will be repurposed in future projects or melted down and recycled.

“In spaces that have social issues, my work is about bringing people together,” JR tells The Art Newspaper. “In a place like this, a huge range of people come to catch the train. When they find themselves in front of an exhibition, they will suddenly have a different kind of interaction.”

La Nascita, which unveiled ahead of Milan Design Week, will be on view through May 1, 2024.

La Nascita, JR's latest installation, celebrates the origins of Milan’s Stazione Centrale.

 

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Una publicación compartida por Michelangelo Buonarroti ✨ (@michelangelobuonarrotietornato)

For this piece, JR traded his signature medium of paper and glue for scaffoldings to create an anamorphic installation.

 

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Una publicación compartida por GALLERIA CONTINUA (@galleriacontinua)

La Nascita, which was unveiled ahead of Milan Design Week, will be on view through May 1, 2024.

@belowsealeveldesi JR’s La nascita in Milan. Beautiful installation #jr #installation #milan #milano #milaan #italia #italie #italy #art #kunst #centralstation #centraalstation #arte #architecture ♬ original sound – kardashianshulu

JR: Website | Instagram
h/t: [HypeBeast]

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READ: JR Transforms Milan Central Station Into a Rocky Landscape to Honor Its Origins