From oxidized metals, foraged plants, and botanical inks and dyes, Cyrah Dardas derives colors and textures from materials found in the earth. Based in Detroit, the artist reflects the juxtapositions of her surrounding landscape in paintings on cotton paper, merging human-made and organic materials in works redolent of Persian tapestries.

In abstract compositions evocative of Georgia O’Keeffe’s sensual flower forms or the symbol-rich paintings of Hilma af Klint vis-à-vis the spiritualist movement, Dardas collages paper painted with handmade watercolors and quilts textiles with hand-dyed fabrics.

“For the last few years, I have been thinking a lot about belonging and seeking to understand it through a more loving relationship to place,” she tells Colossal. “All of my work as an artist flows from this seeking.”

Dardas employs the language of abstraction to explore the human psyche and the “patterns, behaviors, forms, colors, and movements I see in the living world,” she says. Recently, she’s been considering the impact of humans seeing ourselves as increasingly separate from both nature and one another, simultaneously fascinated and grieved by the fallacy of individualism—the confusion between the freedom to make good decisions and the perceived right to do whatever we want with no empathy or regard for how it will affect others.

“In my practice, I ask myself, could I possibly foster some level of reciprocity with any—or all—of the many elements and beings that have brought me here and taken care of me?” Dardas says. “In order to do that, I know I need to at least find a way to connect to them differently than the models that modernity offers us. Art is my portal for that, a different type of connection.”

Dardas invokes ancient, ancestral ways of being in the world by consciously connecting to her natural surroundings. She honors ecosystems and relationships that are naturally cooperative, nourishing, and sustaining, drawing contrasts between processes she views as extractive, like capitalism, patriarchal attitudes, or over-reliance on technology. She uses locally available materials and relies on analog techniques to prepare and process them.

Describing herself as a “queer, eco-romantic artist and care worker,” Dardas examines the nuances of interdependency, growth, and life cycles. Much of her recent work is a reflection of her own pregnancy as she is currently in the “fleeting baby phase” of new parenthood. She says:

I got curious about other beings that swell and gorge to create life—all the plant bodies of water holding seeds, feeding and nurturing them. I wanted to mirror them, thinking of myself as a gourd, a seed pod, a fruit. Like the many facets and expressions of queerness, I felt the experience of pregnancy was vast and delightfully undefinable, and I wanted to translate that feeling or mirroring into something visual.

Dardas’s work is on view in the group exhibition Warp and Weft: Technologies within Textiles, presented by Library Street Collective at The Shepherd in Detroit, which continues through May 3. Find more on her website and Instagram.

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Composed of highly polished stainless steel, the sculptures of Zheng Lu (previously) appear suspended in space and time. Whether secured atop a pedestal, installed in a public park, or hanging in midair, each piece strikes a fine balance between motion and stillness and fluidity and fixedness.

The Beijing-based artist is deeply influenced by traditional Chinese philosophy and calligraphy. The energy, or qi, that courses through the universe shapes his work and is known to facilitate health, stability, and harmony in all aspects of life. Thousands of Chinese characters borrowed from historic texts additionally coat many of his sculptures, calling upon the past as a way to interface with the present.

Lu is also increasingly interested in the burgeoning relationship between human artistry and artificial intelligence. “The advancement of technology will inevitably blur the boundaries between tools and creators, but the essence of creation remains rooted in human nature,” the artist tells Colossal. Viewed as a tool rather than a stand-in for human creativity, he is interested in how machine learning prompts us to more carefully consider authorship.

Through a creative approach that alternates between human and machine, Lu likens his process to “a relay race, with the artwork itself as the baton.” He continues:

I pass the baton to the computer, and it passes it back to me, each of us shaping the piece in turn. The final outcome is not entirely predictable. The existence of the world is defined by balance, and none of us can escape this principle. Hence, I embrace this method both in my life and work, where the process of creation is akin to the growth of life.

Lu is represented by Galerie Sept, and you can find more on the artist’s website.

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Since the 1970s, Charles Gaines (previously) has been charting the sprawling, unpredictable forms of trees onto numbered grids. He began with walnut trees in 1975, which he photographed while barren and then plotted onto hand-drawn graph paper.

A leader in the Conceptual Art movement, Gaines’ works ask viewers to explore the relationships between what something appears to be and what it means as it shifts from one context to the next. He also argues for a greater divide between subjectivity and aesthetics, instead emphasizing culture’s immense role in shaping our experiences.

In his ongoing Numbers and Trees series, Gaines continues to chart differences. During a 2023 visit to Tanzania, the artist photographed majestic baobabs, which form the basis for a collection of triptychs that entwine the magnificent specimens with colorfully numbered grids. Gnarled trunks and spindly offshoots both layer atop and are masked by Gaines’ sequences, all viewed through sheets of plexiglass.

The baobab is known as “the tree of life” for its longevity, myriad roles in preserving the savanna ecosystem, and ability to host entire habitats within its canopies. The specimens are often associated with folklore and myth and in the era of climate disaster, are some of the casualties of unrelenting drought. Depending on location, epoch, and community, the trees can serve a wide array of purposes and hold a multitude of symbolism.

Icons of the African continent, baobabs also connect to histories of colonialism and slavery. In this context, they’re distorted and mediated by both Gaines’ organizing principles and the acrylic panes. “What you bring to the image, adds to the image,” the artist says.

Numbers and Trees, The Tanzania Baobabs is on view from February 19 to May 24 at Hauser & Wirth West Hollywood.

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In the dreamy installations of Lachlan Turczan, natural and perceptual phenomena combine in otherworldly installations merging technology with aquatic landscapes. Water is central to the Los Angeles-based artist’s work and helps shape an ongoing series of immersive projects incorporating light and sonic phenomena.

Turczan is influenced by the Light and Space movement, which originated in Southern California in the 1960s and is characterized by the work of John McLaughlin, Robert Irwin, James Turrell, Lita Albuquerque, and more. The movement focused on perception, employing materials like glass, neon, resin, acrylic, and fluorescent lights to emphasize light, volume, and scale.

Many Light and Space artists created installations and immersive spaces conditioned by naturally occurring elements like Turrell’s ever-changing glimpse of the sky through a ceiling aperture for “Space that Sees.” Not only does the view change as clouds roll by or the weather shifts, but the light continuously transforms the entire room.

“While my work shares this lineage,” Turczan tells Colossal, “it diverges in several key ways: rather than exploring the ‘nature of experience,’ I create experiences of nature that challenge our understanding of light, water, and space.” He describes his approach as “complicating” these elements, emphasizing the ever-changing fluidity of the environment.

In Turczan’s ongoing Veil series, light installations unfold organically in locations ranging from Death Valley’s Badwater Basin to a flooded park near the Rhine River. Lasers and beams of light are projected and submerged, capturing the movement of wind, mist, and the water’s surface.

Additional pieces also merge light and water, like “Aldwa Alsael,” which translates to “liquid light,” and was commissioned for the 2024 Noor Riyadh Light Art Festival.

“For the most part, these installations unfold organically,” Turczan says. “I may discover a location in nature that seems perfect for a new Veil sculpture, but when I return, the conditions have inevitably changed.” Evolving circumstances require the artist to proceed with an openness to chance encounters that strike a balance between preparation and intuition.

Find more on Turczan’s website, and follow updates on Instagram. (via This Isn’t Happiness)

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In nature, flowers serve as an essential component of the reproduction process. But for humans, scented blooms are ripe with myriad meanings and symbolism that transcend their biological functions.

During Victorian times, offering a bouquet to someone with your right hand indicated a non-verbal “yes,” while a yellow carnation would reject an admirer. Similarly in art history, wilting flowers rendered as a momento mori remind us of death’s inevitability, and for van Gogh, sunflowers were the perfect stand-in for gratitude.

A massive exhibition opening next month at Saatchi Gallery cultivates a vast repertoire of works that explores how blooms have become an omnipresent entity in human life and creativity. Flowers: Flora in Contemporary Art and Culture brings together more than 500 photographs, installations, sculptures, archival pieces, and other objects to create a rich landscape spanning millennia.

Anchoring the exhibition is an expansive and immersive work of 100,000-plus dried flowers by Rebecca Louise Law. Smaller pieces include Xuebing Du’s ethereal photos of flowers in natural light, VOYDER’s streaky steam-laden compositions, and lush, vibrant gardens by Faye Bridgewater.

Opening in time to usher in spring in London, Flowers runs from February 12 to May 5.

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A striking silhouette of two fighting stag beetles takes the top prize in the 6th annual Close-Up Photographer of the Year contest (previously), capping a group of category winners and finalists that showcase an array of natural phenomena in astonishing detail.

A jury of 25 experts, comprising scientists, editors, naturalists, journalists, and photographers, narrowed down 100 images from more than 11,000 entries. Photographers in 61 countries submitted photos of a wide range of animals and environments, capturing dramatic behaviors and fascinating habitats.

Among many favorites, Yong Miao’s beautiful shot of a damselfly perched on a stone near a waterfall won the Insects category, Barry Webb’s capture of an ear-pick fungus topped the Fungi & Slime Moulds category, and Gabriel Jensen’s portrait of a fish in the toothy mouth of a predator took the top spot in the Underwater category.

The competition highlights not only incredible images but also the fascinating science and stories behind them. “Summer brings calm seas to South Florida where a dedicated community of shore diving photographers head out nearly every day to survey the world’s third largest coral reef for interesting wildlife,” Jensen says.

Her friends spotted a lizard fish (Synodus foetens) grappling with a large doctorfish. She adds, “After a few minutes of struggle, the doctorfish managed to escape. This image now sits on my desk at work, serving as a reminder that even on tough days, “Everything’s going to be A-OK.”

CUPOTY co-founder Tracy Calder says, “Close-up photography is a celebration of curiosity,” also sharing that the winning entries are “a true testament to the artistry of everyone involved, as well as an invitation to look, marvel at, and honour the world around us.” See all the top photos in the competition’s online gallery.

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Nicknamed “The Land of Fire and Ice,” Iceland is home to an exceptionally diverse array of landscapes teeming with topographical gems and majestic skies. For these reasons, it’s no surprise the destination is considered a haven for photographers all over the world. After dreaming of visiting the scenic country for years, 2024 finally presented an opportunity for Swiss photographer Jennifer Esseiva (previously).

Esseiva devoted a 10-day trip across southern Iceland entirely to the region’s vast surroundings, from the black sand beaches, towering glaciers, and impressive waterfalls to the moss-covered formations and striking displays of the Northern Lights. 

“Where many prefer to travel in sunshine, I’m more interested in clouds and rain,” she says. “I’ve always found that photographing landscapes in different weather conditions gives them another dimension, a unique grandeur.”

The photographer is planning a forthcoming trip in March, this time to Finnish Lapland. Keep an eye on her Instagram for more, and check out her website for past projects and prints for purchase.

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Mobula rays are often referred to as “devil rays,” but unlike their relatives, stingrays, they lack a stinger, making them a bit less nefarious than their name implies. When rays gather together into a group, it’s known as a squadron, and for photographers Brittany Ilardi and Eduardo Acevedo, the phenomenon inspired award-winning photos in the 2024 Ocean Art Underwater Photo Contest presented by Underwater Photography Guide.

Now in its 13th year, the competition saw record-breaking participation with entries submitted from more than 90 countries. From macro views like Imogen Manin’s capture of a fish camouflaged in coral to stunning black-and-white scenes like Eduardo Labat’s best-in-show sighting of circling white-tip sharks, the winning images showcase the beauty, diversity, and vulnerability of underwater ecosystems.

Additional commended images include portraits of nudibranchs in the Philippines, a swimming octopus in Spain, and diving seabirds in Scotland’s northern isles. A category devoted to underwater conservation encourages us to think more carefully about what happens to single-use plastics when we’re finished with them or how discarded fishing equipment and ghost nets can harm wildlife. Other creative categories include digital, blackwater, behavior, and underwater fashion.

“The talent and vision displayed by our participants have set new benchmarks for underwater photography,” says contest organizer Nirupam Nigam, who is also president of Bluewater Photo and editor-in-chief of the Underwater Photography Guide. “These images do more than win awards; they captivate hearts and minds, reaching millions globally and reminding us of our shared responsibility to protect the ocean’s beauty.”

Dive into the online winners’ gallery, and keep an eye on the competition’s website for announcements about the open call for the 2025 edition.

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In the Alsace-Lorraine region, bordering northeastern France and western Germany, the town of Illzach was once home to an institute for the blind. Martin Kunz (1847-1923) directed the school at the turn of the century and produced a remarkable series of embossed graphics that visually impaired students could use to learn about nature and geography.

Accompanied by braille descriptions, Kunz’s educational aids depict a wide range of plants, animals, and maps. To create each page, he hand-carved two wood pieces that formed a mold, into which he sandwiched paper to produce raised illustrations.

The material was typically thick, and Kunz soaked it in water before placing it between the blocks so that the natural fibers would soften and stretch into shape. Leaves, fish, herons, crocodiles, crustaceans, and more comprise a wide array of designs that he mass-produced and made available to blind students all over the world.

The archives of the Perkins School for the Blind holds a collection of dozens of Kunz’s late-19th and early-20th-century tactile graphics, and you can explore more examples from the collection on the Perkins Library’s Flickr.

Below, learn more about Kunz’s process in a video from the Museum of the American Printing House for the Blind, presented by director Mike Hudson. And keep an eye on the APH’s website for news about The Dot Experience, the organization’s museum expansion set to open in 2026 in Louisville, Kentucky, that applies inclusive design standards and brings disability access to the fore.

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When it comes to foliage, there’s a reason it’s called “greenery.” But for Cornwall-based photographer Tom Leighton, common plants take on otherworldly dimensions when rendered in unexpected hues.

The artist’s latest series, Fabled Gardens II, focuses predominantly on giant rhubarb, ferns, and rhododendrons, highlighting the captivating patterns and layers of leaves, fronds, and flowers. Leighton illuminates the botanicals at night, setting crisp outlines against dark backgrounds.

Leighton’s photographs (previously) emphasize what he describes as the “forces that shape the natural world,” tapping into the power of light and color to illustrate dynamic biological processes like photosynthesis, reproduction, growth, and decay.

The artist is currently preparing for forthcoming print releases. Follow updates on Instagram, and explore more on his website and Behance.

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