A quick glimpse of Jacques Monneraud’s vessels give the impression of lighthearted craft time, with cardboard tubes and layered cutouts affixed with pieces of clear tape. Perhaps they’re maquettes for larger pieces or simply playful experiments with an inexpensive material. But look closer, and you’ll discover there’s a lot more to these vessels than they first let on. Namely, they’re actually ceramic.

Monneraud’s ongoing CARTON series explores the relationship between material and perception. He blends three types of clay, then uses a potter’s wheel to throw the core shapes. When the form has dried to a leather-hard consistency, he trims where needed and refines the contours and edges, creating minute details that give the illusion of cut paper.

Achieving the corrugated detail is one of the most time-consuming and labor-intensive processes, which Monneraud accomplishes by pressing a handmade wooden tool into the clay to create a series of triangular impressions. When all of the pieces come together, it appears as though a few pieces of cardboard were patched together with adhesive. In fact, each container is totally water-tight, and they certainly won’t wrinkle or warp!

The artist recently conceived of a series of groupings in an ode to the subtle and playful oil paintings of Giorgio Morandi (1890-1964). The Italian artist is known for his muted still lifes of ceramics in which perspective, light, and shadow create nuanced compositions. He paid particular attention to the relationship between volume and line, often organizing items so that their tops all aligned or various elements appear to merge into other vessels’ details.

In Monneraud’s current exhibition Life, still., on view in Brussels, Morandi’s compositions provide a jumping-off point for the trompe-l’œil ceramics. Pitchers, vases, jars, and other shapes mimic those Morandi rendered in oil, revisiting the painter’s approach to “cosiddetta realtà,” or “so-called reality.” He was interested in “the notion that meaning lies not in the subject itself, but in the way it is observed,” says a statement for Monneraud’s show.

Life, still. is open on Saturdays through November at 38 Quai du Commerce in Brussels. Find more on Monneraud’s Instagram.

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Flowers, stars, leaves, eyes, and countless patterns transform into billowing garments in Irene Saputra’s vibrant embroideries. The South Jakarta-based artist, who also goes by Nengiren, repeats the playful motif of nona kecil, which means “little woman” in Indonesian.

Saputra’s fashion-forward character might be described as a clotheshorse who dons numerous bold outfits, some of which seem to have personalities of their own. Saputra has often referred to these styles as OOTD’s, or outfits of the day, borrowing from a hashtag historically used by fashion influencers on social media.

The faceless figure’s cropped bob and black boots are the only commonality, as always-symmetrical wide-leg trousers or dresses vary widely. Through color, scale, and repetition, Saputra’s hand-stitched characters also coordinate and complement one another. Some, like the Arak Arakan Sepi series—meaning “quiet procession” in Indonesian—are more abstract and bulbous, while others, like “Terlalu Sibuk Bergaya,” depict more realistic outfits.

Saputra draws on a background in graphic design and illustration, which she applies to her fiber compositions. Through the lens of women’s fashion and personal expression, she channels optimism and her own journey of motherhood. Find more on Instagram.

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The arboreal designs featured in TASCHEN’s new book aren’t your dad’s Home Depot box variety. Uniquely stunning, all 62 structures in Modern Tree Houses respond to the surrounding environment, whether a tiny, winterized pod for escaping the snow or a split-level playground complete with climbing ropes and nests. Built by architects and amateurs alike, each dwelling is varied in material, layout, purpose, and aesthetic, although all thrive because of their proximity to nature’s beauty.

“Modern tree houses are proof that happiness doesn’t have to be built big—just built right,” author Florian Siebeck says, presenting an array of spaces from luxurious escapes to children’s hideouts. Pre-order your copy in the Colossal Shop.

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From feminist activist Angela Davis to iconic symbols of peace amid political upheaval, Shepard Fairey is known for his bold illustrations and instantly recognizable posters. He rose to prominence within the world of street art and skateboarding culture, creating a sticker in 1989 with the phrase “Andre the Giant has a posse,” which was distributed widely and led to a recurring motif of the wrestler’s face on dozens of subsequent prints.

Fairey’s graphic motifs hit the mainstream in 2008 during Barack Obama’s presidential campaign, in which his portrait sits above the word “hope.” The optimistic work exemplifies how grassroots activism, especially through the form of printing and sharing imagery, can become iconic and have immense influence.

Out of Print, a retrospective of Fairey’s work presented by Beyond the Streets, celebrates what the gallery calls “the rebellious, democratic force of ink and paper.” More than 400 prints designed over the past few decades are joined by new works. Many of the posters emphasize his interest in activism, empowerment, and protest. His subversive practice, known as Obey Giant, even has a slogan: “Manufacturing quality dissent since 1989.”

Fairey often incorporates the color schemes and modernist, graphic motifs of early 20th-century propaganda posters, especially of the Soviet Union. By incorporating design motifs associated with fascism into messages of peace, feminism, love, and democracy, he reinforces the power of the medium. “Some people say digital media has ended print, but the provocative, tactile experience of a print on a wall or in the wild can’t be replaced,” Fairey says. “Printing still matters!”

The exhibition runs from November 15 to January 11 in Los Angeles. Learn more on the gallery’s website, follow updates on Fairey’s Instagram, and purchase prints in his shop.

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As a communication designer, Kelli Anderson began her career in information design. “The act of data visualization is all about bringing facts from the abstract and numerical realm into the sphere of perception, so you can see them,” she says in a video on Kickstarter. “And I thought, why stop there? What if you could also feel and experience those facts?”

Last year, Anderson launched a remarkable, five-years-in-the-making project called Alphabet in Motion: How Letters Get Their Shape, an ABC pop-up book about typography. She spent thousands of hours researching design archives and meticulously engineering kinetic and three-dimensional letters to show how type styles have evolved through the ages.

“If you look carefully at letters, you can see a secret history of the world—from the Bronze Age to the Information Age,” Anderson says. “But because many of these methods, tools, and machines are now obsolete, this history is challenging to follow. Alphabet in Motion leverages tactile, interactive features to help clarify how letters have transformed alongside technological upheavals and shifting aesthetic moods.”

The project is composed of two conjoined, detachable books. The pop-up section includes an interactive, seven-segment display cover that changes from A to Z, 17 moveable paper elements, and hands-on activities. The accompanying 128-page section contains an essay diving into the history and concept of each pop-up, plus 300 color images from the history of type design.

Anderson’s book originally funded on Kickstarter and is now being released more widely. Secure your copy in the Colossal Shop. Follow along with her work on Instagram, and you might also enjoy another of her projects, This Book Is a Camera.

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From record-breaking droughts and catastrophic flash floods to contaminated pipelines and increasingly thirsty AI farms, water is at the nexus of the climate crisis. The life-giving liquid is both scarce and too abundant, causing half the global population to lack sustained access to fresh drinking water, while much of the world is subject to hotter, wetter weather that subsumes communities with extreme conditions.

For designer, author, and activist Julia Watson, pinpointing myriad approaches to these all-consuming problems is one of the most critical and urgent tasks today. Her new book Lo-TEK Water, published by Taschen, highlights various Indigenous technologies and aquatic systems that could be utilized in adapting to a climate-changed world.

There are the two-meter-deep canals of Xochimilco, Mexico, which delineate 55,000 square meters of raised fields called chinampas. While built by the Aztecs to clean the water and irrigate crops, this system actually originated with the Nahua people. Similar are the floating islands of Intha Myanmar, which weave together roots, leaves, sediment, and other materials to create hydroponic beds.

Although Watson is keen to draw on ancient practices that could be more widely utilized today, she also highlights more modern approaches, like Pakistan’s Yasmeen Lari, an architect who’s responsible for devising the world’s largest program for creating shelters and cookware that leave no carbon footprint.

At 558 pages, Lo—TEK Water positions “water as an intelligent force that can shape resilient cities and landscapes. Aquatic infrastructure is reframed—from extractive and industrial into regenerative and evolving—designed to sustain life for generations,” a statement says.

Watson is a key voice in the broader Lo—TEK movement, and this new book is a companion to her previous volume focused on sustainable technologies. Find your copy on Bookshop.

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Ceramics and textiles share several traditions. Both media have long occupied the realm of craft, are often functional, and tend to be tied to narrative and storytelling, whether sharing in family lore or communicating something about their owner.

For Shae Bishop, combining the two offers a way to tether the enduring and universal with the intimate and personal. The Richmond-based artist has spent more than a decade creating innumerable ceramic tiles that he stitches together into bandanas, suits, and other garments. “By merging the materials and fitting them to my body, I was seeking to merge the personal with the historical, to locate myself and my individual narrative within the larger story of human culture,” he tells Colossal.

Bishop’s garments have evolved in complexity and embellishment during the last 14 years, as he gravitates toward art historical narratives and the self-mythologizing associated with cowboy culture. Pieces like “Waistcoat of Earthly Delights” reference Hieronymus Bosch’s famous triptych and its alternative realities. Long interested in the human-nature relationship, Bishop draws on Bosch’s biblical retelling as a way to “reimagine our fraught interactions with strange and misunderstood creatures like giant salamanders and venomous snakes,” as he adorns a vest with a pair of white serpents and vivid flowers.

A peek at Bishop’s Instagram reveals a deep reverence for snakes—there are several images of the artist with the reptiles draped around his neck and arms— and an interest in reinventing the fear and animosity associated with the creatures, which he hopes to present instead as “a hero, an icon, and an ecological ambassador.”

This intention emerges, in part, through more performative works like the turquoise, fringe-lined “Rhinestone Rattlesnakeboy Suit.” Bishop often wears the elaborate getup while stationed inside a booth and handling a snake, a performance evoking entertainment ventures like Buffalo Bill’s Wild West Show and the Roy Rogers Show.

The artist also frequently photographs himself out in the wild, whether knee-deep in a swampy landscape or perched atop a horse. These immersive images add another layer to the performative aspect of the project and reinforce the world-building and storytelling capacity that fashion has.

Of course, cowboy and Western culture are deeply entwined with American identity and masculinity, and Bishop reflects on these influences as he creates floral chaps and fringed hats. He adds:

I like the tension between utility and conservatism on one hand and idiosyncratic flamboyance on the other hand. The colorful floral outfits of country music history and the high heels and ornate leatherwork of cowboy boots are such unique expressions of culture. And I look at darker elements like toxic masculinity and a gleeful love of fossil fuels. I also put myself into this work. I try to be self-critical and interrogate my own love-hate relationship with these cowboy tropes, while still keeping a sense of humor.

“Rhinestone Rattlesnakeboy Suit” is on view through next September at the Renwick Gallery of the Smithsonian American Art Museum in an exhibition devoted to state fairs. This winter, Bishop will show pieces at Belger Arts in Kansas City and the Houston Center for Contemporary Craft, and he’s currently working on a collection of ceramic diving helmets, along with leather shoes. Find more on his website.

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Armed with tweezers, a porcupine quill, and more patience than most of us could fathom, the senior paper conservator of the Victoria & Albert Museum tackles a finicky restoration project in a new video. Susan Catcher walks us through her impeccably precise process as she restores a damaged fan dating back 200 years. She shares insights into her techniques and materials, all of which have to be reversible should the project need to be redone.

This video is one of many within the V&A’s series on conservation, which includes restoring Shakespearean costumes, a portrait of Marie Antoinette, and a Samurai figure. Watch more on YouTube.

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In 2016, while artist McKay Lenker Bayer was still an undergraduate, her professor assigned the class the task of exhibiting their work. Unsure about presenting her work to the public, she downsized, quite literally, showing miniature paintings with teensy-tiny labels. And the idea for a minuscule exhibition space was born.

In 2018, Lenker Bayer established Tiny Art Show, a community art project that utilizes unique and unexpected spaces around Provo, Utah, to show original work by numerous artists. Until this year, the project was largely nomadic, but Tiny Art Show now has its own dedicated space.

Installed at 1:6 scale, the storefront-style gallery sits inside what was originally a stairwell, accessible from street level. Its blue facade is reminiscent of retail spaces in New York City or London, and inside, it’s what Lenker Bayer describes as “a fully functional, commercial art gallery… that just happens to be tiny.” Original work is for sale, opening events draw gatherings of people who enjoy tiny snacks, and you can even grab a tiny newspaper from the vending machine near the door.

In addition to its miniature brick-and-mortar presentations, Tiny Art Show also facilitates a series of art projects like the Monthly Mini Mail Club, a subscription that dispatches an itty-bitty periodical called The Tiny Times, plus a booklet from that month’s gallery show. You can also purchase tiny art kits in the shop, along with prints and merchandise.

Explore more on the project’s website, and keep an eye on Instagram for updates about forthcoming shows.

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In the famous first stanza of the 17th-century poem “Auguries of Innocence,” William Blake writes:

To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand
And eternity in an hour.

Perhaps Blake didn’t intend us to literally hold infinity in our hands, but he may have been aware that there was, in a manner of speaking, a way to don the entire known universe.

Combining the elegance of gold jewelry with the meticulous craftsmanship of intricate timepieces, a unique style of ring emerged from a fashion for the cosmos during the 16th and 17th centuries. Known as armillary rings, these deceptively simple gold creations can be worn on the finger like any other band, but when removed, they open up into a sphere made of several interconnecting circular bands operated by delicate hinges.

Examples of armillary rings in the British Museum and the Swedish National Museums of History have been traced to Germany, made during the Late Renaissance as the study of astronomy reached new heights. In 1543, Copernicus essentially launched the scientific revolution when he claimed that the Earth rotates around the Sun, not the other way around.

A few years later, Italian polymath Galileo Galilei, known as a pioneer of observational astronomy, built a telescope powerful enough to, for the first time, observe the stars of the Milky Way, see Jupiter’s four largest satellites, and make out Saturn’s rings, among other discoveries.

The historic gold rings are based on ancient astronomical instruments called armillary spheres, which emerged from the long-disproven theory that everything in the cosmos revolved around Earth. The designs, which were used since at least the 2nd century, place our planet at the center. A group of rings rotates on an axis, providing reference points for locating other celestial bodies. Separate bands correlate to the equator, the Tropics of Cancer and Capricorn, and the revolution of the Sun—a ring which also represents the constellations of the Zodiac.

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