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1. Tuttomondo

2. 1989

3. concrete wall, acrylic tempera paint

4. Keith Haring, American

5. This mural is one of Haring’s many public projects that speak of the famous belief that “art is for everyone.” One does not have to step foot in a museum or gain a strong background in the arts to appreciate it and be surrounded by it. Warhol aimed to create works that could be easily understood and embraced the use of simple elements that could communicate his message to everyone even if each of their contexts in life may differ, allowing them to relate to it and feel the impact (Insidecom Editorial Staff, 2017). This work of art represents a message of peace and unity through the thirty pastel-colored figures—deviating from the very vivid and strong colors that characterized his other pieces—that are dancing to the rhythm of an African dance (Insidecom Editorial Staff, 2017). From my point of view, the way they are posed made them look like puzzle pieces that fit and came together. It holds great relevance not only in our present times but also the past and the future, considering how humankind steers away from harmony and companionship time and time again in both small and huge matters but also finds themselves reaching out for it. It is full of life and also radiates a cheerful and hopeful vibe. Moreover, what made it more meaningful and heartwarming is how it witnessed a couple of coming together. It is from how Warhol took inspiration from the colors of Pisa in order for his piece to be one with the town's social and environmental setting, to how it was a collaborative work between Warhol and several university students of Pisa, and to how the walls of a Catholic structure served as the canvas of a gay HIV-positive artist (Fitzpatrick, 2015).

Fitzpatrick, C. (2015, July 9). Going to Tuscany. Easy Reserve Limited. Retrieved February 6, 2022, from https://www.tuscany-villas.it/to-tuscany/2015/localities/pisa/tuttomondo-pisa

Insidecom Editorial Staff. (2017, October 18). ‘Tuttomondo’, Keith Haring’s astonishing mural in Pisa. Toscana Inside. Retrieved February 6, 2022, from https://www.toscanainside.com/hidden-treasures/post/tuttomondo-keith-harings-astonishing-mural-in-pisa/

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1. Les Voyageurs

2. 2013

3. bronze

4. Bruno Catalano, French-Italian

5. Amazement saturated me as I gaze at Catalano's series of sculptures as they seem to defy gravity and remain standing even though a region of their bodies is missing. Another reason would be how they are located in open areas since it allowed them to exhibit an added magnificence. They appear to somehow blend into the background or the scenery due to the empty space that was left mid-statue. According to Catalano, this depicts the theme of travel and migration as well as belongingness and loss, stating that leaving his home for a strange land caused him to feel that a part of himself faded away and that he could never get it back (Waldmann, 2021). He continued by stating that the suitcase being carried contained his experiences and aspirations which are his “roots in motion,” and which stays with him wherever he may be (Waldmann, 2021). It cannot be denied how touching this is and how it can resonate with a lot of people all around the world and not only those who share a similar story with Catalano. It can also be said that the striding statues represent people who are on a search for something that can make them whole or can complete their lives. On the other hand, Riaz Mamdani, who unveiled this work of art, spoke to how this can also serve as a symbol of our times: “broken and torn but moving toward a better future (Strategic Group, 2020).” It prompts one to look back on one’s journey and contemplate on what was, what is, and what can be. (Strategic Group, 2020).

Van Gogh Monumental statue arrives in Calgary at UPTEN. Retrieved February 6, 2022, from https://www.strategicgroup.ca/news/van-gogh-monumental-statue-arrives-in-calgary-at-upten/

Waldmann, N. (2021, October 19). Not All There – The Enigmatic Sculptures Of Bruno Catalano. DailyArt Magazine. Retrieved February 6, 2022, from https://www.dailyartmagazine.com/sculptures-of-bruno-catalano/

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1. Tsunami

2. 2019

3. concrete backer board, marble

4. Luca Barberini, Italian

5. Mosaics have a long history spanning thousands of years, but Barberini is not afraid of breaking off the traditional a little and giving it a refreshing and modern take. Instead of cutting the fragments of the marble and glass before beginning creating the mosaic, he does it as he goes (Turtle, 2020). This spontaneity can be seen as a mark of the creative energy unique to him, setting it apart from the others. What also caught my attention was how bright and colorful the image is against the dark plain background, how each person in the crowd has a distinct quality even without much details, and how the imagery is wonderfully bizarre and encourages one to contemplate more on the meaning behind it. I see the big wave as the chaos our world is in, and we, humankind, make up that wave or are responsible for that chaos. We have created problems that continue to grow in number as well as complexity and are destroying everything in its path, and we are now paying the consequences of our actions.

Turtle, M. (2020, June 15). Modern mosaics in Ravenna, Italy. Time Travel Turtle. Retrieved February 6, 2022, from https://www.timetravelturtle.com/mosaics-ravenna-art-unesco/

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Campbell's Soup Cans by Andy Warhol (1962)

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Campbell's Soup Cans by Andy Warhol (1962)

# data[].attributes.body
1. Campbell’s Soup Cans

2. 1962

3. synthetic polymer paint on thirty-two canvases

4. Andy Warhol, American

5. Out of all the artistic movements, it was Pop Art that captured my interest, and Warhol’s work was one of its most defining moments. It widened the scope of what art means and demonstrated how something as ordinary or common as a can of soup could be a work of art’s sole subject. Also, in a simple yet clever manner, it shed light on how much the American way of life or culture is being taken over by mass production and consumerism (Delson, 2021). When I first encountered this piece, it appeared that every panel was just a copy of the other from a distance, which Warhol actually intended in order to show the repetitiveness and uniformity found in advertising and commercialism (Santoro, 2016). Therefore, it took me by quite a wonderful surprise to discover that the label or the flavor of the soup varied in each can upon studying it more closely. This change in detail spoke of how he used to have Campbell’s soup for lunch every day for 20 years (Santoro, 2016). From my perspective, it can also signify how the affairs and the patterns of our personal lives and the issues and transformations of societal structures, as well as the course of history, are closely connected. Warhol also meant for the drawings to mimic the mechanical method of manufacturing used in producing the commercial food product (Museum of Modern Art, n.d.). The small imperfections that can still be detected, however, made my fondness of it to grow further since it developed a more hand-made appearance and has come to possess a personal touch.

Delson, S. (2021, June 28). Andy Warhol’s Soup Can Paintings: What They Mean and Why They Became a Sensation. HISTORY. Retrieved February 6, 2022, from https://www.history.com/news/andy-warhol-1962-soup-can-paintings-meaning-reaction

Museum of Modern Art. (n.d.). Andy Warhol. Campbell’s Soup Cans. 1962. Retrieved February 6, 2022, from https://www.moma.org/learn/moma_learning/andy-warhol-campbells-soup-cans-1962/

Santoro, G. (2016, April 22). Andy Warhol: The Signification of Soup. Vertu Fine Art. Retrieved February 6, 2022, from https://vertufineart.com/andy-warhol-the-signification-of-soup/

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Heart of the Home by Billie Zangewa (2020)

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Heart of the Home by Billie Zangewa (2020)

# data[].attributes.body
1. Heart of the Home

2. 2020

3. Raw silk

4. Billie Zangewa, Malawian-South African

5. When people think of tapestries, their minds are usually flooded with grand scenes of ancient times whether they be associated with religion or mythology, but artists like Zangewa breaks that notion by using it to illustrate her everyday life and her experiences (Gottesman, 2016). Not only that but what also drew me closer to her work is how it differs from the traditional one in the way it was created. Instead of weaving wool by the use of a loom, she stitches together various colorful fragments of silk that can even look similar to an oil painting from afar. Her imageries not only convey her exploration of her identity, celebrate femininity and raise questions about gender and racial stereotypes but also expresses the “soft power” of sewing among African women that she sensed beginning from her childhood and is still deeply reflecting on until today (Irwin, 2020). It is significant to note how motherhood became one of the main subject matters of her work after the birth of her son, and the presentation of herself in a domestic space became more frequent as she aimed to illuminate the typically overlooked and undervalued areas of women’s lives that in truth, make a remarkable contribution and difference in our world—“daily feminism” she called it (Luke et al., 2021). In this piece, we can see how she steps into three different roles: a mother who is cooking dinner, a teacher helping with schoolwork, and a woman that stands apart from those who has her item of self-care placed across the table (Wallis, 2021). This moment is being played out in different homes around the globe and so, it becomes a tool for empowerment and makes women seen even in their ordinary and quiet efforts.

Gottesman, S. (2016, October 31). 10 Textile Artists Who Are Pushing the Medium Forward. Artsy. Retrieved February 6, 2022, from https://www.artsy.net/article/artsy-editorial-10-textile-artists-who-are-pushing-the-medium-forward

Irwin, M. (2020). Billie Zangewa Biography, Artworks & Exhibitions. Ocula Artist. Retrieved February 6, 2022, from https://ocula.com/artists/billie-zangewa/

Luke, B., Michalska, J., Dawson, A., Clack, D., Bentall, H., & Jhala, K. (2021, November 17). A brush with Billie Zangewa. The Art Newspaper. Retrieved February 6, 2022, from https://www.theartnewspaper.com/2021/11/17/a-brush-with-billie-zangewa

Wallis, S. (2021, May 4). Billie Zangewa Makes Art Where the Light is Best. The New York Times. Retrieved February 6, 2022, from https://www.nytimes.com/2021/05/04/arts/design/billie-zangewa-tapestries.html

# data[].attributes.headline
Heart of the Home by Billie Zangewa (2020)

# data[].attributes.subject
Heart of the Home by Billie Zangewa (2020)

# data[].attributes.body
1. Heart of the Home

2. 2020

3. raw silk

4. Billie Zangewa, Malawian-South African

5. When people think of tapestries, their minds are usually flooded with grand scenes of ancient times whether they be associated with religion or mythology, but artists like Zangewa breaks that notion by using it to illustrate her everyday life and her experiences (Gottesman, 2016). Not only that but what also drew me closer to her work is how it differs from the traditional one in the way it was created. Instead of weaving wool by the use of a loom, she stitches together various colorful fragments of silk that can even look similar to an oil painting from afar. Her imageries not only convey her exploration of her identity, celebrate femininity and raise questions about gender and racial stereotypes but also expresses the “soft power” of sewing among African women that she sensed beginning from her childhood and is still deeply reflecting on until today (Irwin, 2020). It is significant to note how motherhood became one of the main subject matters of her work after the birth of her son, and the presentation of herself in a domestic space became more frequent as she aimed to illuminate the typically overlooked and undervalued areas of women’s lives that in truth, make a remarkable contribution and difference in our world—“daily feminism” she called it (Luke et al., 2021). In this piece, we can see how she steps into three different roles: a mother who is cooking dinner, a teacher helping with schoolwork, and a woman that stands apart from those who has her item of self-care placed across the table (Wallis, 2021). This moment is being played out in different homes around the globe and so, it becomes a tool for empowerment and makes women seen even in their ordinary and quiet efforts.

Gottesman, S. (2016, October 31). 10 Textile Artists Who Are Pushing the Medium Forward. Artsy. Retrieved February 6, 2022, from https://www.artsy.net/article/artsy-editorial-10-textile-artists-who-are-pushing-the-medium-forward

Irwin, M. (2020). Billie Zangewa Biography, Artworks & Exhibitions. Ocula Artist. Retrieved February 6, 2022, from https://ocula.com/artists/billie-zangewa/

Luke, B., Michalska, J., Dawson, A., Clack, D., Bentall, H., & Jhala, K. (2021, November 17). A brush with Billie Zangewa. The Art Newspaper. Retrieved February 6, 2022, from https://www.theartnewspaper.com/2021/11/17/a-brush-with-billie-zangewa

Wallis, S. (2021, May 4). Billie Zangewa Makes Art Where the Light is Best. The New York Times. Retrieved February 6, 2022, from https://www.nytimes.com/2021/05/04/arts/design/billie-zangewa-tapestries.html

# data[].attributes.headline
Heart of the Home by Billie Zangewa (2020)

# data[].attributes.subject
Heart of the Home by Billie Zangewa (2020)

# data[].attributes.body
1. Heart of the Home

2. 2020

3. Raw silk

4. Billie Zangewa, Malawian-South African

5. When people think of tapestries, their minds are usually flooded with grand scenes of ancient times whether they be associated with religion or mythology, but artists like Zangewa breaks that notion by using it to illustrate her everyday life and her experiences (Gottesman, 2016). Not only that but what also drew me closer to her work is how it differs from the traditional one in the way it was created. Instead of weaving wool by the use of a loom, she stitches together various colorful fragments of silk that can even look similar to an oil painting from afar. Her imageries not only convey her exploration of her identity, celebrate femininity and raise questions about gender and racial stereotypes but also expresses the “soft power” of sewing among African women that she sensed beginning from her childhood and is still deeply reflecting on until today (Irwin, 2020). It is significant to note how motherhood became one of the main subject matters of her work after the birth of her son, and the presentation of herself in a domestic space became more frequent as she aimed to illuminate the typically overlooked and undervalued areas of women’s lives that in truth, make a remarkable contribution and difference in our world—“daily feminism” she called it (Luke et al., 2021). In this piece, we can see how she steps into three different roles: a mother who is cooking dinner, a teacher helping with schoolwork, and a woman that stands apart from those who has her item of self-care placed across the table (Wallis, 2021). This moment is being played out in different homes around the globe and so, it becomes a tool for empowerment and makes women seen even in their ordinary and quiet efforts.

Gottesman, S. (2016, October 31). 10 Textile Artists Who Are Pushing the Medium Forward. Artsy. Retrieved February 6, 2022, from https://www.artsy.net/article/artsy-editorial-10-textile-artists-who-are-pushing-the-medium-forward

Irwin, M. (2020). Billie Zangewa Biography, Artworks & Exhibitions. Ocula Artist. Retrieved February 6, 2022, from https://ocula.com/artists/billie-zangewa/

Luke, B., Michalska, J., Dawson, A., Clack, D., Bentall, H., & Jhala, K. (2021, November 17). A brush with Billie Zangewa. The Art Newspaper. Retrieved February 6, 2022, from https://www.theartnewspaper.com/2021/11/17/a-brush-with-billie-zangewa

Wallis, S. (2021, May 4). Billie Zangewa Makes Art Where the Light is Best. The New York Times. Retrieved February 6, 2022, from https://www.nytimes.com/2021/05/04/arts/design/billie-zangewa-tapestries.html