Colossal has featured Aspen Golann’s wooden vessels, connected to her research into early American embroidery. In the carved works, pattern acquires thickness: the eye has to travel around it rather than simply read a surface. The feature was published on 30 October.
The distinction between an applied image and a form grown from an image becomes clear. Relief catches shadow, an edge joins the composition, and the familiar outline of a vessel begins to behave unexpectedly. Colour matters, but it’s no longer the only instrument: light joins the conversation.
It’s a reason to look harder at what we habitually call decoration. Sometimes ornament is assigned the final layer, easily switched off. Sometimes it’s so closely tied to an object’s construction and character that removing it leaves something entirely different. These works reward slow looking. Fortunately, wood doesn’t ask you to swipe away after three seconds.
