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Matias Karsikas Merges Diverse Techniques to Reimagine Natural Surfaces

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23 Jan, 2025

This post was originally published on Colossal

“Listening to the material is a central principle in my work,” Matias Karsikas says. Combining elements of glass, wood, and ceramics, the Helinski-based artist draw upon nature’s persistence despite human intervention.

Karsikas’ botanical sculptures rest between artificial and organic. While bold hues of hand-blown glass neatly bloom into symmetrical petals and small bits of fired clay rhythmically protrude to resemble disc florets, fragments of untreated wood create a contrast that challenges the harmony between naturally occurring components of flora and fabricated representations of it.

a botanical sculpture of a flower, made from glass, wood, and ceramics
“Suonkukka (Marsh Flower)”

“These works do not directly depict figures or landscapes but instead draw inspiration from nature through textures and surfaces,” Karsikas explains. For instance, more complex finishes of mottled, green hues—as seen in pieces such as “Jäkälä” and “Sammal”—are a result of the artist developing his own glazes to mimic surfaces similar to lichen and moss.

His first major public work, “Peukaloisen puutarha,” rests on a Helsinki daycare center wall. Translating to “Little Thumbling’s Garden,” the installation includes an abundance of pickings such as embellished flowers, a berry cluster, and peas. “Playing with scale is intended to evoke memories of childhood,” Karsikas shares. “It was a time when everything seemed bigger, more magical, and more exciting.”

Having recently concluded his first major exhibition at the Finnish Glass Museum, Karsikas is currently working on two forthcoming public artworks. Follow his Instagram for updates, and see his website for more work.

“Kultaa ja Kukkia (Gold and Flowers)
a wall-mounted sculpture of a cluster of botanical forms made from glass, wood, and ceramics
“Jäkälä (Lichen)”
a botanical sculpture of a flower, made from glass, wood, and ceramics
“Filigraanikukka (Filigree Flower)
a knit-like pattern made from glass
“Sammal (Moss)”
“Päivänsäde ja Menninkäinen (The Sunbeam and the Goblin)”
an installation of botanical sculptures mounted on the wall of a stairwell made from glass, wood, and ceramics
“Peukaloisen puutarha (Little Thumbling’s Garden),” photo by HAM / Sonja Hyytiäinen
Detail of “Peukaloisen puutarha (Little Thumbling’s Garden),” photo by HAM / Sonja Hyytiäinen
a sculpture of botanical form, made from glass, wood, and ceramics
“Kuumalähde (Hot Spring)”
a botanical sculpture of a flower, made from glass, wood, and ceramics
“Ametistikukka (Amethyst Flower)”

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Land water loss causes sea level rise in 21st century

Land water loss causes sea level rise in 21st century

An international team of scientists, led jointly by The University of Melbourne and Seoul National University, has found global water storage on land has plummeted since the start of the 21st century, overtaking glacier melt as the leading cause of sea level rise and measurably shifting the Earth’s pole of rotation.

Published in Science, the research combined global soil moisture data estimated by the European Centre for Medium-Range Weather Forecast (ECMWF) Reanalysis v5 (ERA5), global mean sea level measurements and observations of Earth’s pole movement in order to estimate changes in terrestrial (land) water storage (TWS) from 1979 to 2016.

“The study raises critical questions about the main drivers of declining water storage on land and whether global lands will continue to become drier,” University of Melbourne author Professor Dongryeol Ryu said.

“Water constantly cycles between land and oceans, but the current rate of water loss from land is outpacing its replenishment. This is potentially irreversible because it’s unlikely this trend will reverse if global temperatures and evaporative demand continue to rise at their current rates. Without substantial changes in climate patterns, the imbalance in the water cycle is likely to persist, leading to a net loss of water from land to oceans over time.”

Between 2000 and 2002, soil moisture decreased by around 1614 gigatonnes (1 Gt equals 1 km3 of water) — nearly double Greenland’s ice loss of about 900 Gt in 2002–2006. From 2003 to 2016, soil moisture depletion continued, with an additional 1009 Gt lost.

Soil moisture had not recovered as of 2021, with little likelihood of recovery under present climate conditions. The authors say this decline is corroborated by independent observations of global mean sea level rise (~4.4 mm) and Earth’s polar shift (~45 cm in 2003–2012).

Water loss was most pronounced across East and Central Asia, Central Africa, and North and South America. In Australia, the growing depletion has impacted parts of Western Australia and south-eastern Australia, including western Victoria, although the Northern Territory and Queensland saw a small replenishment of soil moisture.

Image credit: iStock.com/ZU_09

In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles

In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles

Through intimate, mixed-media collages, Stan Squirewell excavates the stories of those who might otherwise be lost in anonymity.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article In Vivid Reliquaries, Stan Squirewell Layers Anonymous Portraits and Patterned Textiles appeared first on Colossal.

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