A nine-meter-tall passageway made of eight individual arches enticed visitors into ENESS’s latest installation (previously). Last month at Quoz Arts Fest 2025 in Dubai, Forest Dancer comprised a monumental entry and an immersive exhibition of illuminated inflatable forms inside a contemporary building.

With mushroom-like proportions, pixellated patterns, and a slew of changing hues, ENESS’s work encompasses a central character surrounded by psychedelic trees, mountains, insects, and boulder-like bean bags.

“As artists, we work in many contexts—inside galleries and museums, in (the) public realm and even creating small art pieces for the home,” said ENESS founder Nimrod Weis. “This approach of ‘art is everywhere’ means that we responded to the inspiring architecture by creating an artwork that is at once a conversation with the built form and an installation in its own right.”

This year’s festival was curated around the theme of an Arabic proverb meaning “a hut holds a thousand friends,” inspiring creative responses that center on bringing people of all ages together and promoting interactivity.

A statement says, “The entire exhibition, spanning over 600 square meters, is an ode to the power and importance of creativity in the face of online obsession, geopolitical upheaval, and the rise of dark forces taking us far from the soulfulness of art, human connection, and gentle contemplation,” says a statement.

Find more on ENESS’s website.

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Vibrant contrasts, eye-opening patterns, and mischievous creatures are just a few of the characteristics of Brazilian artist Amanda Lobos’ beguiling scenes. Based in Vila Velha, about an eight-hour drive up the coast from Rio de Janeiro, Lobos works extensively across a range of mediums, from graphic and product design to murals and public installations.

A large-scale inflatable work titled “Ventura” was installed last year on the top of a building in the city of Belo Horizonte. Lobos calls upon the philosophy of Indigenous Brazilian environmentalist and philosopher Ailton Krenak, who posits that humankind should live in harmony with nature rather than trying to control it.

Lobos’ all-seeing “Ventura,” which translates to “fortune,” perches on a corner of a tall building and oversees its domain, double-faced with two eyes on each side and one of its legs curled up casually on the ledge.

This work “is about the agony and dilemma of returning a star to the sky,” Lobos says in a statement, describing “Ventura” as “condemned to the duality of the fantastic and the real.”

Much of the artist’s work is intentionally left open to interpretation. “I believe that what I want to communicate to viewers is already embedded in my work visually, allowing them to interpret it however they wish—that’s the beauty of it!” Lobos tells Colossal. “I don’t like to be too literal or overly serious with my concepts; I enjoy the creative process and the freedom it gives me.”

In vivid murals, Lobos applies a similar juxtaposition of mystery and play, as coy characters dance within colorful panels or long walls illuminate the joys of learning. An expansive mural at a school in the Jardim Limoeiro neighborhood of Serra celebrates science, art, curiosity, and play.

“My favorite thing about painting murals—besides seeing them come to life on a large scale from an initial sketch on paper or a 30-centimeter canvas—is the process itself,” Lobos tells Colossal. She adds:

Executing the piece and watching it unfold is truly special. The feeling of applying paint with no “Ctrl+Z” is humbling, and working on such a large surface teaches you to embrace mistakes and adapt in new ways. Every wall is a fresh learning experience.

Lobos is soon heading to Mexico to paint her first mural outside of Brazil looking forward to collaborating with two other artists on a pair of murals for the Movimento Cidade festival in August.

We’ve shared a handful of public art projects here, but you can head over to Behance or Instagram to see a wide range of the designer’s vibrant product collaborations and commissions.

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From throwback pixelated video games to science fiction-inspired computer consoles, Love Hultén’s playful sculptures (previously) harken back to the birth of digital.

Based in Gothenburg, Sweden, the artist’s explorations of video games, electronic music, and retrofuturist aesthetics continue to shape playful pieces like “R-KAID-R,” a mobile video game complete with a toggle, all of which can be carried like a briefcase.

One recent work, “The Future Fan Stage” takes a humorous approach to a fantastical fusion of live performance, science, and computers. Commissioned for Gothenburg’s Way Out West, the screen doubles as a fully functional stage that played live recordings of the headliners “for what might be the largest yet smallest crowd in history: sperm and eggs getting ‘ready to rumble’ in a laboratory,” Hultén says.

The artist draws on controversies surrounding in vitro fertilization (IVF) that have reached a fever pitch during the past few years. Taking an optimistic approach to science and modern medicine, Hultén references studies demonstrating that music may improve fertilization during the IVF process.

Hultén’s work will be on view in Liljevalchs’ spring salon Vårsalong 2025, which opens on February 14 in Stockholm. Find more on the artist’s website.

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On nearly 27 wooded acres outside the town of Catskill, New York, artist Matt Bua has been hard at work on a creative compound like no other. For two decades, he has constructed an artist-built environment from salvaged materials comprising numerous living spaces and work areas. Recently listed for sale for $269,000, the off-grid property known as “B-Home” could be yours.

Bua’s project originated with the idea to “build one of every type of dwelling we could with materials that were easily at hand,” the artist tells Colossal. From repurposed vinyl records, bottles, and reclaimed wood, a sprawling “repurposed city” emerged as painted signs, sculptures, and one-of-a-kind structures popped up over time.

Bua describes his approach as “intuitive building,” working in response to the natural terrain, found materials, and vernacular structures of the northeast. He wrote a book titled Talking Walls, which focuses on the region’s tens of thousands of miles of historic stone walls and considers history and material culture merge in the ways we understand “place.”

Bua lived in Brooklyn when he purchased the property. “All I wanted to do was go up there and build,” he recently told Artnet. He was inspired by self-sustaining communities like Drop City in Colorado, an artists’ commune formed in 1960 with a reputation for remarkable hand-built homes. Incidentally, he also used to maintain Catskill’s quirky Catamount People’s Museum, an installation of an enormous bobcat made from scraps of wood.

Along with a cohort of friends who have contributed freestanding artworks and functional structures over the years, Bua approached “B-Home” as a collaborative experiment “informed by the needs and desires of our surrounding community.”

Learn more about Bua’s work on his website.

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Evoking marigolds, prairie clover, and milk thistle, Ross Hansen’s ongoing series of ethereal lighting fixtures dissects assumptions about design and function. The Los Angeles-based artist and designer’s unique sculptural forms combine hemp, bio-resin, and aluminum to create otherworldly floor lamps.

Hansen draws on a background in landscape design, inspired by organic textures and forms found in nature. In his recent exhibition Of Human Feelings at Volume Gallery, clusters of lights resemble larger-than-life fungi or microscopic organisms. Strips of cloth are enrobed in plant-based resin for rigidity, and the illuminated bulbs diffuse within the fabric.

Volume Gallery will present Hansen’s work at Felix Art Fair in Los Angeles next weekend. Find more on the artist’s website.

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From immersive fabric installations and sculptures to photography, landscape design, and architecture, the work of Aleksandra Kasuba (1923-2019) merges myriad ideas about how we experience the world. The intersection of technology and nature enchanted the late Lithuanian artist, and she often experimented with a variety of materials and the effects of light, hue, and tension to explore relationships between ourselves and notions of shelter and place.

The first major exhibition of her work in Europe, Imagining the Future at Carré d’Art—Musée d’Art Contemporain, explores the incredible breadth of Kasuba’s artistry.

Born to an aristocratic family, Kasuba enrolled in art school in 1941, focusing primarily on sculpture and textiles. She married artist Vytautas Kašuba, with whom she fled Lithuania in 1944 in the wake of the Nazi occupation of the country. They landed in a displaced-persons camp in Germany where they stayed until making their way to New York in 1947, and her experience as a refugee and an immigrant significantly affected her work.

In the U.S., Kasuba found employment in crafts and design and began laying the foundations for her future artistic practice, which merged applied and functional arts with abstraction. Her interdisciplinary practice took shape in earnest the 1950s and 1960s and was deeply influenced by tenets of modernism and the era of space exploration, which cast humanity’s existence on Earth in a new light.

Mid-20th century scholarship on vernacular architecture also inspired Kasuba, and she was moved by a visit to Bernard Rudofsky’s 1964 exhibition Architecture Without Architects at the Museum of Modern Art in New York. He took a broader view of global architecture than the field typically covered and emphasized the ingenuity and beauty of structures built by Indigenous cultures.

Rudofsky suggested that modernism—particularly modern architecture—had lost touch with the real needs of society, and he urged viewers to pay attention to artistic, idiosyncratic, culturally rich local styles free from elitist design rules.

Kasuba’s artistic practice blended with daily life in her own living spaces, too, from her New York City home in the 1970s to Rock Hill House, a sculptural dwelling in the New Mexico desert she completed between 2001 and 2005.

The convergence of sculpture and environmental design also fascinated the artist, spurring unique material combinations in large-scale public interventions and spatial installations. Concerned with how we move through places and are affected by our surroundings, she was also commissioned to create numerous public wall installations using materials like brick, marble, and granite.

Kasuba explored the relationships between transparency, color, and light in works like “Spectrum,” privileging organic shapes and an immersive passageway made from stretched nylon. Her Space Shelters series, composed of fabric in curving forms without ninety-degree angles, exemplifies her desire to harmonize nature, people, and technology.

Imagining the Future continues through March 23 in Nîmes, France. Learn more on the museum’s website.

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Whether a self-taught artisan or a contemporary art titan, one can make artwork just about anywhere. As the saying goes, the only limit is your imagination. And when art and life intersect, sometimes the distinction between the two disappears.

As the National Trust for Historic Preservation can tell you, homes and studios from rural Kansas to the hubbub of Manhattan have been the locus of eclectic, quirky, and innovative ideas that illustrate how creativity and daily existence are one and the same.

Last month, the NTHP added 19 new properties to its Historic Artists’ Homes and Studios program. Comprising locations that range from houses and workspaces to quarries and hand-assembled fantasylands, the new spaces bring the total number of network participants to 61 across the U.S.

Colossal readers might be familiar with one of last month’s additions, the Kosciusko, Mississippi, home of L.V. Hull (1942–2008), which was included in the National Register of Historic Places last summer. The designation was the first to honor the residence of an African American woman visual artist at the national level, and it was also the first time a home art environment by any African American was added to the list.

Women feature prominently in this year’s announcement, including Pope’s Museum in Ochlocknee, Georgia, which is distinguished as the oldest surviving artist-built environment by a woman in the U.S. A self-taught maker, Laura Pope Forester (1873–1953) created elaborate exterior installations, including murals and other works that pay tribute to women’s achievements, military veterans, and literary figures. The crochet-like white facade is composed of sewing machine parts.

Additional places include the homes of groundbreaking women artists Louise Bourgeois and Carolee Schneemann, along with remarkable creations like Grandma Prisbey’s Bottle Village in Simi Valley, California, and Mary Nohl’s unique environment in Fox Point, Wisconsin.

Plan your visits on the Historic Artists’ Homes and Studios website.

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Before photography, slide projectors, movies, television, or anything electronic, entertainment came from what we now think of as analog sources. In the 1700s, for example, your leisure time may have been spent listening to live music, visiting an art show or a theatre performance, playing games, and reading books.

Inspired by theatrical stage sets, one innovation that rose to popularity in the 18th century was the tunnel book. Known at the time as “peep shows,” the art form combined storytelling with numerous layers that, when opened up, created the illusory effect of depth and perspective. Typically small and delicate, the scenes frequently depicted figures in a range of landscapes and commemorated special events.

For self-taught illustrator Shelley Aldrich, the tradition inspires an ongoing series of vibrant books and folded visual narratives. Using primarily watercolor and gouache, she paints flowers and text that nod to folk tales and famous stories, like The Chronicles of Narnia and The Hobbit.

“I’ve always enjoyed crafts, but I didn’t really begin painting (or making) art until I was 45,” Aldrich tells Colossal. “My background was in marketing and financial analysis, which I did for more than 20 years. After I left my career to raise my girls, I fit painting into bits of free time to keep my mind growing.”

Aldrich learned the basics of creating a tunnel book from another artisan on Instagram, and she adapted the method to her own style. She always enjoyed stationery design, toys, and books that had tiny, hidden compartments or miniature surprises. She says, “It’s no wonder that when my first daughter was born, I started making tiny scrapbooks that involved moving elements: flaps that opened, hidden letters, mini books, and spinning objects. That was probably the beginning of my paper fascination.”

Aldrich continues to experiment with different paper tricks, such as sliding doors and increasingly elaborate folds. She constructs scenes inspired by nature, as well as recognizable elements of famous stories, like the magical portal from the first Narnia book, The Lion, the Witch, and the Wardrobe.

“Recently, I have been discovering vintage paper art that is rarely seen except in museums,” Aldrich says. “I can’t wait to figure out all the techniques, mash them together and make modern pieces that have never been combined before.” She is currently experimenting with the possibilities of combining tunnel books with Victorian puzzle purses, which were used as a means of exchanging private or romantic messages that could be encased in intricate folds.

“I still love the feeling of awe when you experience something that makes your heart swell,” Aldrich says. “As you get older, I think this happens less because of the responsibilities and burdens of being an adult. You tend to see less magic. I hope, with my art, to evoke the childlike wonder and hope that is in all of us.”

Find more on the artist’s website and Instagram.

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Polyethylene is the most common plastic in the world. Used for food packaging, grocery bags, detergent bottles, and so much more, the often single-use items are ubiquitous in our daily lives.

For computational designer Xuanhao Li, polyethylene became a fruitful source for envisioning a new way to repurpose the omnipresent material.

While working as a textile developer, Li noticed that the plastic films lining boxes and wrapping textiles during transit were often thrown in the trash. He began to collect the material and experiment with its properties, particularly its transparency, malleability, and smooth texture, as it passed through a heat-press machine. “The aim was to fuse polyethylene films into sheets that balanced rigidity and flexibility while achieving a hazy translucency for lampshades,” he tells Colossal. “No material is inherently unattractive or cheap.”

When Li watched a documentary about sea turtles that mistook plastic bags for jellyfish, the explorations found their form. “The haunting imagery of drifting plastic and its tragic impact on marine life deeply moved me,” the designer shares. He also visited the Georgia Aquarium in Atlanta to observe the live animals and their bulbous bodies.

After developing the material, Li created digital motifs that imitated both a knitted structure and the jellyfish form, which he cut using a CNC machine. He adds:

I attached tentacles with varying widths, following rhythmic patterns that abstractly echo the textures of jellyfish tissue…For the top portion of the jellyfish, I employed a smooth, overlapping layering technique, which mimicked the delicate, rounded bell of the jellyfish. For the base, I used an opposing technique, where the pieces were knitted with the edges facing each other, resulting in a ridged texture that evoked the intricate, flowing form of jellyfish tentacles.

Resulting is Polycycle Illumination, an elegant collection of tabletop lamps. Standing at different heights, the designs together reflect the changes in shape as a jellyfish pulsates and swims through the water. Li hopes the series functions as both a functional object and a call to reduce plastic waste that threatens marine life.

Polycycle Illumination has won numerous awards, including the title of Design Project of the Year for Dezeen China, and is on view at the Red Dot Design Museum in Singapore.

Li is currently working on a new lamp series made of discarded silk cocoon trimmings to debut this May at London Craft Week. He plans to focus more on home and fashion design in the coming months, and you can follow his latest projects on his website and Instagram.

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Whether enclosed in clear acrylic or seemingly sliced from a single tree, Joyce Lin’s sculptures examine themes of interconnectedness and the Anthropocene, which describes our planet’s most recent epoch and the way humans significantly impact its ecosystems and climate.

“I am both disturbed and captivated by the paradoxes of industrialized society,” Lin says in a statement, “where modes of production and disposal are often obscured to the public, yet people have more technology than ever to make their imagined worlds a reality.”

Lin’s uncanny pieces meld form and function, taking the recognizable shapes of furniture and food and transforming them into playful meditations on mass production and consumption. She often uses organic materials like wood, augmenting the surfaces with synthetic mediums like epoxy, resin, and oil paint to preserve their appearance in perpetuity. Some works, like the Wooden Chair series, are entirely composed of engineered materials.

“I love to dissect and understand things, and my works often feature objects—usually a chair—sliced open to expose an inner structure; to express an inner truth, so to speak,” Lin tells Colossal. She manipulates the structures extensively, blurring the reality of what she describes as the “insides” and the “outsides,” so the composition takes on a fantastical quality.

“I don’t think they’re so convincing when you really zoom in, so it’s interesting to see people assume they’re somehow grown or AI-generated, even though they take an incredible amount of manual labor and time to create,” Lin adds. “I often think about distortions in our perception of reality, (which is) probably why people keep sending me those is-it-cake videos.”

The artist is currently working toward a solo exhibition later this year at R & Company, and you can explore more on her website and Instagram.

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