Pioneering architecture studio MAD has designed a stunning canopy for the Venice Architecture Biennale 2025. The structure is a reinterpretation of traditional Chinese oil paper umbrellas, featuring a monumental floating form that doubles as a sheltered outdoor space next to the China Pavilion. (MAD also designed the China Pavilion.) Aptly called Chinese Paper Umbrella, the design offers relief from the external elements and a site of tranquility within a subtly shifting interior space.

The towering canopy was created using paper. It specifically uses Xuan paper, which is handmade from the tough bark of a Tara Wing-Celtis or Blue Sandalwood tree and rice straw. MAD also coated the umbrella with layers of tung oil to create a “breathable” surface that can withstand a variety of weather. “Venice’s maritime climate brings moderate shifts between day and night temperatures,” the studio explains, “and its weather is often unpredictable, alternating between strong sun, sudden rain, and occasionally strong winds.”

From a structural standpoint, Chinese Paper Umbrella is anchored by a sloping steel frame that makes the paper look as though it’s draped from it. There are gaps within the canopy to help ventilate the space, and a large opening acts as the entrance. Inside, wooden stools for sitting are placed underneath a built-in misting system for hot days. The central lighting changes as the day progresses, creating a warm glow as day becomes night. “As light moves across the oiled paper, the umbrella becomes a pavilion of shadow and glow, reflecting the rhythms of day and night,” MAD shares.

Chinese Paper Umbrella is an exercise in impermanence. The paper will naturally change over time, eroding to become more yellow as it endures sunlight and weather. This is by design. “Its gradual disappearance underscores the structure’s impermanence,” MAD says, “and offers a poetic reflection on how architecture and the natural world might coexist in thoughtful response to our changing climate.”

MAD’s designs are now on view at the Venice Architecture Biennale until November 23, 2025.

Pioneering architecture studio MAD has designed a stunning canopy for the Venice Architecture Biennale 2025.

The structure is a reinterpretation of traditional Chinese oil paper umbrellas, featuring a monumental floating form that doubles as a sheltered outdoor space next to the China Pavilion.

Aptly called Chinese Paper Umbrella, the design offers relief from the external elements and a site of tranquility within a subtly shifting interior space.

The central lighting changes as the day progresses, creating a warm glow as day becomes night.

Chinese Paper Umbrella is an exercise in impermanence.

The paper will naturally change over time, eroding to become more yellow as it endures sunlight and weather.

The canopy is now on view at the Venice Architecture Biennale until November 23, 2025.

MAD: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by MAD.

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READ: MAD Unveils Giant Graceful ‘Chinese Paper Umbrella’ at the 2025 Venice Architecture Biennale

The Fourth of July is a day typically spent grilling and hanging poolside. Whether you’re having a cookout or are staying indoors to avoid the heat, you can take advantage of My Modern Met Store’s Fourth of July sale. From July 4 to July 7, we’re offering 15% off your entire order when you use the code FIREWORKS15 at checkout. Don't delay; the discount ends at 11:59 PM PT.

Looking for a game that is great for outdoor parties? We are big fans of the Comma brand’s big and small Cat Pile games. In these reverse-Jenga-inspired activities, you are trying to stack the kitties as high as you can without them toppling over. Make sure you buy a few sets to increase the challenge (and fun). But if you’re more of a dog person than a cat person, don’t worry. Comma also makes a dog stacking game featuring wood pieces in the shape of the Shiba Inu breed.

You can never have too many playing cards—especially if you like big gatherings. For a stylish take on the conventional deck of cards, check out one of the latest additions to My Modern Met Store: the OBEY RED deck. The set was created by theory11 in collaboration with renowned artist Shepard Fairey. The RED deck features Fairey’s work adapted into kings, queens, and more. Perfect for the art aficionado and game-lover in your life, this is sure to stack the deck for a fun time.

Peruse our entire selection of creative products by visiting My Modern Met Store. Remember, use the code FIREWORKS15 to save 15% on your entire order until 11:59 p.m. PDT on July 5. And if you spend over $100, the shipping is on us (for U.S. locations only).

My Modern Met Store is offering a 15% discount for the Fourth of July. Just use the code FIREWORKS15 from July 4 to July 7, 11:59 p.m. PDT.

OBEY RED Playing Cards

Regular Price: $19.95 | Sale Price: $16.96

Big Wooden Cat Pile Game

Regular Price: $39.95 | Sale Price: $33.96

Vintage-Inspired Bird Scarf

Regular Price: $62+ | Sale Price: $52.70+

Jazz Love Blueprint Poster – A History of Jazz Music Poster

Regular Price: $44.95| Sale Price: $38.21

Embroidery-Inspired Temporary Tattoo Set

Regular Price: $15 | Sale Price: $12.75

A6 Travel Paint Kit

Regular Price: $45 | Sale Price: $38.25

The Great Wave Tote Bag

Regular Price: $14.95  | Sale Price: $12.71

Bartender Glasses (Set of 4)

Regular Price: $25  | Sale Price: $21.25

Clawed Monet Cat Artist Pin

Regular Price: $12.50  | Sale Price: $10.63

Crab n' Roll Paper Towel Holder

Regular Price: $24.95 | Sale Price: $21.21

Paint Brush & Palette Earrings

Regular Price: $21.50 | Sale Price: $18.28

Rainbow Joes: Series 1 Figurines

Regular Price: $25 | Sale Price: $21.25

This article has been edited and updated. Prices were accurate at time of publishing.

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READ: Fourth of July Sale at My Modern Met Store: Save 15% on All of Our Creative Products

Photo: Alice BL Durigatto

Artist Gabriel Dawe is creating rainbows indoors again. Continuing his dazzling Plexus series, the renowned creative has recently installed Plexus no. 46 as part of a group show at Villa Manin in Italy. The exhibition is titled Transparent Architectures (Architteture Trasparenti) and features Dawe’s work alongside incredible artists, including Christina Kubisch, Robert Irwin, Pat White, and Jeppe Hein.

As in his previous Plexus pieces, Dawe uses a full spectrum of hues to create an interplay of light and perceived color. Delicate threads are stretched across a partially walled space, and they crisscross to create new hues in the process (thanks to optical mixing). As the light shines on and through the threads, the unified components create a singular dazzling piece that evokes joy.

Transparent Architectures is a journey through contemporary art inspired by the concept of a border. A border is a geographic line—a boundary—but it’s also a mental space. In the context of this exhibition, it’s viewed as a “crossable limit, which can be crossed with the gaze or body.” This ties in with Dawe’s work. Although we can’t step into Plexus no. 46, we can traverse the structure in our mind.

Dawe began creating the Plexus series as an extension of his embroidery practice and experimenting with thread on an architectural scale. “That component started surfacing at the beginning, how buildings and clothing both have the function of sheltering,” he explained to My Modern Met in a previous interview. “But then when you use the material of the clothing on an architectural scale, you lose that physical sheltering quality, but it gets transformed into this very childlike quality. It becomes like a sheltering of the soul in that way.”

You can see Plexus no. 46 as part of Transparent Architectures (Architteture Trasparenti) at Villa Manin until October 26, 2025. While there, you can take in the history of the location. “Villa Manin is a palace about one and a half hours north of Venice, and built by the last Venetian Doge,” Dawe tells My Modern Met, “and that’s where Napoleon stayed for two months while negotiating a peace treaty when he defeated the Venetian Republic.”

Artist Gabriel Dawe is creating rainbows indoors again.

Photo: Alice BL Durigatto

Continuing his dazzling Plexus series, the renowned creative has recently installed Plexus no. 46 as part of a group show at Villa Manin in Italy.

Photo: Alice BL Durigatto

A full spectrum of hues creates an interplay of light and perceived color.

Photo: Alice BL Durigatto

Delicate threads are stretched across a partially walled space, and they crisscross to create new hues in the process.

Photo: Alice BL Durigatto

As the light shines on and through the threads, the unified components create a singular dazzling piece that evokes joy.

Photo: Alice BL Durigatto

See Plexus no. 46 as part of Transparent Architectures (Architteture Trasparenti) until October 26, 2025.

Photo: Alice BL Durigatto

Exhibition Information:
Transparent Architectures (Architteture Trasparenti)
June 8, 2025–October 26, 2025
Villa Manin
Stradone Manin, 10, 33033 Passariano UD, Italy

Gabriel Dawe: Website | Instagram

My Modern Met granted permission to use photos by Gabriel Dawe.

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READ: Dazzling Thread Art Installation Stretches String To Create Luminous Indoor Rainbows

South African artist Daniel Popper has created an artistic landmark in Miami’s Arts District. Titled Lumen, the larger-than-life sculpture is permanently installed as the entrance to Society Wynwood, a vibrant apartment community. It’s covered in mosaic tile that comes alive when it’s dark. During the day, viewers can admire the earth-toned surface, but at night, projection mapping completely reimagines the mosaics. Suddenly, the sculpture lights up with a colorful, changing digital display. The surface now looks chrome, and the figure has iridescent colors painted over its eyelids—until the next projection.

The Lumen structure features organic, vine-like elements that begin on the ground and extend 30 feet in the air. They are meant to signify the “hidden channels of energy within the city,” as the name of the piece is a reference to the anatomy of a plant. Lumen, which comes from the Latin word meaning “an opening,” is the inside space of a tube, such as an artery. With this in mind, Popper’s piece is a fitting way to celebrate the hustle and bustle of Miami, a metropolis known for its beaches, art, and lively day-to-night culture. It's all made possible by the people who live and love Miami and work hard to add to its collective vitality.

“Creating Lumen for Society in Wynwood was an exciting opportunity to contribute to the area’s dynamic art scene,” Popper tells My Modern Met. “It allowed me to further explore mosaics as a way to connect people with the essence of our human nature, while using handcrafted textures to bring viewers’s attention into the present moment.”

You can find Lumen at the entrance of Society Wynwood, located at 2431 NW 2nd Ave in Miami.

South African artist Daniel Popper has created an artistic landmark in Miami’s Arts District.

Titled Lumen, the larger-than-life sculpture is permanently installed as the entrance to Society Wynwood, a vibrant apartment community.

It’s covered in mosaic tile that comes alive when it’s dark. During the day, viewers can admire the earth-toned surface…

…but at night, projection mapping completely reimagines the mosaics.

Another variation of Lumen was installed at Electric Forest 2025 in Rothbury, Michigan. Check out the projection mapping in action:

 

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Daniel Popper: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Daniel Popper. 

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“12 Sunflowers in a Ming Vase”

Artist Tim Fowler creates monumental botanical paintings with a vivid twist. Although plants can be colorful in real life, Fowler imagines a world in which leaves and blooms are alive with electric pinks, purples, and blues, and a blend of artistic approaches. Acrylic paint, oils, spray paint, and pastels all grace his canvases.  This allows him to create compositions that feature bold brushstrokes in one section with fine-lined drawings in another. The result is that there’s always something for the eye to look at, and it’s always dazzling.

Fowler has focused on botanical subject matter for the past five years of his career. His choice of plants changes, but his selections are often personal; some have a historical connection to his Caribbean heritage, while others are plants he found on his travels. Just as with the plants he picks, he finds a lot of freedom in how he approaches each piece. “I can paint loosely, in an abstracted style, or use a tighter, realistic approach,” he tells My Modern Met. “I can add and modify compositions without feeling pressured by accuracy, proportions, or tone—this aligns perfectly with my style.” His use of color makes him feel good, and he hopes to imbue viewers with this emotion, too.

My Modern Met had the opportunity to speak with Fowler about his work, including how he got started painting flora in the first place. Scroll down for our exclusive interview.

Studio Shot by John Rodney Ferguson

How did your painting journey begin?

I studied Contemporary Fine Art at Sheffield Hallam University in the UK. I graduated in 2007 and consider my painting journey starting from that point. However, the moment I knew I wanted to be an artist came earlier. I was in my mid-teens and watched the 1996 film Basquiat. Up until then, the only artists I knew were Picasso and Van Gogh. As a young mixed-race kid of Caribbean heritage, I was in awe to see an artist who looked like me. Seeing him go from the streets to becoming a superstar of the art world—selling paintings and hanging out with celebrities—was something I didn’t even know was possible. From that moment, my goal was to make it a full-time profession.

While developing my practice, I did everything I could to get my work out there. I used social media, though this was before it became the tool it is today. I participated in small independent art fairs, open exhibitions, and organized my own shows. To support myself financially, I worked as a teaching assistant at a behavioral school. This gave me a steady income but also enough free time to focus on painting. The “real art world” is very different from studying at university, so I learned a lot about galleries and the business side of things along the way. Over the years, I gradually managed to get my work out there and started working with galleries, which led to bigger shows and collaborations with larger galleries both in the UK and internationally.

“Otherworldly Orchids”

“Organic Lines”

What inspires your compositions and the themes you focus on?

For the past five years, I’ve been focusing on botanical subject matter. This has ranged from migratory and cash crops, plants with a historical connection to my heritage, plants from my travels, to more recent flora. It started when another artist brought some large banana plants into our shared studio space at the end of summer, preparing for the colder months. I quickly fell in love with their form and the way they grow and die. I began visiting botanical gardens, researching books on the subject, and traveling to tropical climates like Thailand and Barbados to take my own photos.

Now, I tend to switch between different categories of plants depending on my mood or the style of painting I want to create. I enjoy painting large canvases, some up to 9 meters (about 30 feet) long, for corporate buildings and public spaces, as well as smaller pieces for the home. What I enjoy most about painting botanicals is the freedom it gives me. I can paint loosely, in an abstracted style, or use a tighter, realistic approach. I can add and modify compositions without feeling pressured by accuracy, proportions, or tone—this aligns perfectly with my style. Most of my work is based directly on photos I’ve taken, but I also look at historical botanical illustrations. Recently, I’ve been creating mock-ups in Photoshop, editing them in abstract ways, and working from those as a starting point.

“Inverted Windows”

How does your creative process look like?

I’d describe my painting style as very dynamic. I find it hard to work on just one piece or to sit still. I tend to work on multiple paintings at different stages simultaneously. The biggest obstacle to my creative process is my own mind. If I’m struggling with a piece, I don’t force it; instead, I switch to another or start something new.

When I don’t know where a painting is headed, I accept that I can’t force it— sometimes I just need a break. If I’m waiting for a layer to dry, I move on to another part so I’m not wasting time. I dislike working in silence, so I often listen to audiobooks or creepypastas. I like being relaxed and working from an instinctive, gut reaction flow state. My brain tends to engage more once I’m back home and reviewing progress photos on my phone.

During studio days, I usually live off black coffee, rarely eating, and sometimes go to the gym to relieve stress and tension. I start a painting by blocking in areas of color with acrylic, often using spray paint to sketch out the composition and blend colors. I continue with acrylic but add oil and oil sticks towards the end.

Each medium has its own properties, texture, and finish, which I use carefully to complement or contrast each other. For large-scale paintings, I sometimes use unconventional tools like mops, fire extinguishers filled with paint, sprayers, and rags for mark-making. My work often doesn’t have a fixed finish point; I keep working until I feel satisfied.

“Green Tea”

What do you like about working with bright colors?

My bright color palette is a recognizable part of my style. People often ask how and why I choose these colors. There’s no specific reason—these are simply colors I’m drawn to. Over the years, my palette has evolved slightly, but pink is always present. I use vibrant colors thoughtfully, carefully placing them to create balance or contrast. I don’t just throw every color into a piece, because I want to avoid overpowering the work. For example, I might use a bright fluorescent pink next to a deep Prussian blue to anchor it.

Some may disagree with my color choices, but art is subjective, and ultimately, it’s my work. I believe my palette will continue to evolve, but I won’t force changes based on others’ opinions. To me, these colors are beautiful and positive; they make me feel calm when I look at them. I’ve been drawn to bright colors since childhood growing up in the 80s and 90s—fashion, advertising, nature, and other artworks all influence my choices subconsciously.

“Duppy Basil,” “Seaside Sage,’” “Tropical Milkweed”

Is there a particular painting you’re more proud of or that is your favorite?

It’s hard to pick just one, as it depends on my mood. Overall, I’d say my favorites are Duppy Basil, Seaside Sage, and Tropical Milkweed from my The Ground exhibition in 2024 at Attenborough Arts Centre in Leicester, UK. This exhibition focused on plants connected to Barbados, where my mum’s family is from. These three paintings are 2 meters by 3 meters (6.5 feet by 10 feet), created with acrylic, oil, spray paint, and oil sticks on canvas. Their large scale made a strong impact. Each plant has traditional medicinal uses in Bajan culture, adding an interesting layer to the work.

“The Ground Exhibition”

What do you hope people will take away from your art?

I want my art to leave a positive impact on viewers, the same feeling I get when I’m painting. I aim for my work to appeal to everyone— from young children who’ve never been to an art gallery to seasoned art experts and other artists. Art can sometimes seem intimidating or snobby, especially for those who haven’t studied it. I also hope to inspire others to try something creative—they often find it beneficial for mental health and overcoming struggles. At my shows, I meet people who used to study art or simply enjoy it, and my work has inspired them to reconnect with their creativity.

“Salvia”

“Benin to Barbados”

Tim Fowler in front of “Sugar Cane”

Tim Fowler: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Tim Fowler. 

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Photo: Frank Lloyd Wright Foundation

Nestled in the foothills of the McDowell Mountains in the Sonoran Desert sits an architectural gem designed by Frank Lloyd Wright. Known as Taliesin West, the pioneering architect saw it as his desert laboratory. There, he and his apprentices lived and worked while continuing to design innovative structures that followed Wright’s principle of organic architecture.

It’s not easy to define organic architecture. Wright said that while it’s a style, it’s also a way of thinking and feeling. Essentially, the building should enhance the site and the structure look natural within its setting. Taliesin West, located near Scottsdale, Arizona, exemplifies this idea. Its exterior is clad in “desert masonry,” made up of local rock set and bound by a mixture of cement and desert sand. As a result, it takes on a rocky exterior that mimics the surrounding mountainous landscape. But it doesn’t completely blend in; redwood beams accent the masonry for a stunning effect.

Taliesin West was first constructed in 1937, and Wright continued to expand and alter the building to eventually include a drafting studio, three theaters, a workshop, dining facilities, residences for apprentices and staff, and Wright’s office and living quarters. He would spend his winters at Taliesin West until his death in 1959.

Taliesin West is now a UNESCO World Heritage site and a National Historic Landmark. Visiting is open to the public, allowing us all to appreciate how Wright’s vision blends architectural design with the beauty of the natural landscape. The site offers a variety of tours, including self-guided, a behind-the-scenes look, and a special “Shelters in the Desert” guided outing.

Eugene Kim, co-founder and editor-in-chief of My Modern Met, had the opportunity to visit Taliesin West. “I’ve long admired Frank Lloyd Wright as an architect, especially with his exquisite contributions of Fallingwater and the Guggenheim New York,” he shares.

“It was an honor to visit one of his homes and studios in Taliesin West and interview Niki Stewart, vice president, chief learning & engagement officer of the Frank Lloyd Wright Foundation,” Kim continues. “Niki is a natural educator and provided excellent insights into the mind of Frank Lloyd Wright, and I especially appreciated the concept of organic architecture and building around your specific environment. A big thanks to Niki and the Frank Lloyd Wright Foundation for their warm hospitality of My Modern Met.”

Visit the Taliesin West website to learn more and plan your trip.

Nestled in the foothills of the McDowell Mountains sits an architectural gem designed by Frank Lloyd Wright.

Photo: Eugene Kim / My Modern Met

Daytime exterior of Taliesin West. (Photo: Foskett Creative Courtesy of the Frank Lloyd Wright Foundation)

Photo: Eugene Kim / My Modern Met

Known as Taliesin West, the pioneering architect saw it as his desert laboratory.

Photo: Andrew Pielage

Located near Scottsdale, Arizona, Taliesin West was first constructed in 1937 and expanded to include a drafting studio, three theaters, a workshop, and more.

Taliesin West Interior. (Photo: Andrew Pielage © Frank Lloyd Wright Foundation)

Photo: Eugene Kim / My Modern Met

Photo: Eugene Kim / My Modern Met

Photo: Eugene Kim / My Modern Met

Visiting Taliesin West is open to the public, allowing us all to appreciate how Wright’s vision blends architectural design with the beauty of the natural landscape.

Sunset at Taliesin West. (Photo: Foskett Creative Courtesy of the Frank Lloyd Wright Foundation)

To learn more about Taliesin West, check out My Modern Met's interview with Niki Stewart, Vice President, Chief Learning & Engagement Officer of the Frank Lloyd Wright Foundation.

 

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Taliesin West: Website

My Modern Met granted permission to feature photos by Visit Phoenix.

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READ: Visit Taliesin West, Frank Lloyd Wright’s “Desert Laboratory” Nestled in Arizona

 

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A post shared by Wallace Center for Arts and Reconciliation (@wallacearts1841)

Facing the past can help pave the way for a more equitable future. While there are many ways to do so, storytelling is among the most powerful and emotionally resonant. One former plantation in Harpersville, Alabama, is using arts, education, and cultural programming to promote reconciliation, healing, and repair. Now known as the Wallace Center for Arts and Reconciliation, the institution is working with 1504, a narrative studio based in Birmingham, to recenter the stories of Black descendant communities through storytelling.

The center's name comes from Samuel Wallace, a man who enslaved as many as 95 persons and used the people he enslaved to build his plantation home in 1841. It was passed to various family members after his death and, in 2018, was inherited by Nell Gottlieb, his second great-granddaughter. Gottlieb, along with co-founder Theoangelo Perkins, established the non-profit organization Klein Arts & Culture. The organization was deeded the house in 2019 and in 2023, changed its name to the Wallace Center for Arts and Reconciliation.

Together, the Wallace Center for Arts and Reconciliation and 1504 have—and continue to—work with designers, historians, and local leaders to produce content and exhibitions inviting visitors to go beyond intellectual understanding and to feel the weight of what happened at the former plantation.

“Seeing members of the descendent community step into the Wallace House and encounter artifacts and hold photographs from their family history was a reminder of the power of storytelling,” Tyler Jones, who is part of 1504, told NPR, “to stitch together memory, to make history personal, and to reflect human dignity.”

The current exhibition on display is Out of Whole Cloth: Marking History & Making Home, 1865 – 1910. Curated by Dr. Elijah Gaddis and designed by Robert Finkel from Auburn University, it displays everyday objects to tell the stories of three families of free people in post-Emancipation Alabama as they try to make their way in life, in which they were finally granted their freedom—and little else.

Previous projects include The Praise House, which documented the making of a site-specific sculpture by multi-disciplinary artist Tony M. Bingham. His work is a tribute to the clandestine history of “hush harbors,” which were gathering places where enslaved persons worshipped, grieved, and resisted. In Healing History, descendants of enslavers and the enslaved engaged in honest and often difficult conversations. “Those exchanges revealed a deep hunger for acknowledgment,” Jones shared, “and the importance of not minimizing the horrors of racial violence while also not reducing the Black experience to stories of trauma.”

Out of Whole Cloth is open to the public through November by appointment to the Wallace Center for Arts and Reconciliation.

The Wallace Center for Arts and Reconciliation is a former plantation in Harpersville, Alabama, that uses arts, education, and cultural programming to promote reconciliation, healing, and repair.

 

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A post shared by Wallace Center for Arts and Reconciliation (@wallacearts1841)

The institution collaborates with 1504, a narrative studio based in Birmingham, to recenter the stories of Black descendant communities through storytelling.

 

View this post on Instagram

 

A post shared by 1504 (@1504.co)

Its latest exhibition is titled Out of Whole Cloth: Marking History & Making Home, 1865 – 1910. It displays everyday objects to tell the stories of three families of free people in post-Emancipation Alabama as they try to make their way in life, in which they were finally granted their freedom—and little else.

 

View this post on Instagram

 

A post shared by 1504 (@1504.co)

Previous projects include The Praise House, which documented the making of a site-specific sculpture by multi-disciplinary artist Tony M. Bingham.

 

View this post on Instagram

 

A post shared by Wallace Center for Arts and Reconciliation (@wallacearts1841)

In Healing History, descendants of enslavers and the enslaved engaged in honest and often difficult conversations.

Exhibition Information:
Out of Whole Cloth: Marking History & Making Home, 1865 – 1910
Ends November 30, 2025
The Wallace Center for Arts and Reconciliation
35184 Highway 25, Harpersville, AL, United States, Alabama

The Wallace Center for Arts and Reconciliation: Website | Instagram | Facebook

Source: A former plantation becomes a space for healing, art and reparative history

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READ: Former Plantation Is Transformed Into a Cultural Space for Healing, Art, and Repair

Daniel Popper, “Lumen” (Photo: Eugene Kim / My Modern Met)

Nestled into the forests of Rothbury, Michigan, is an immersive event where music, art, and nature converge. Known as Electric Forest, the multi-day music and arts festival offers an otherworldly experience in a lush, wooded area called Sherwood Forest. Attendees camp onsite, making the event feel like its own little world for four days.

While the music often takes center stage, the art installations are a can’t-miss part of the overall experience. My Modern Met attended Electric Forest 2025 and interacted with the artwork firsthand. “Electric Forest may be known as a music festival,” shares Eugene Kim, co-founder and editor-in-chief of My Modern Met, “but the amount of high-quality art installations found in Sherwood Forest and beyond was absolutely incredible.”

Daniel Popper’s sculpture Lumen was among Kim’s favorites. The monumental artwork features a face cradled by sweeping forms that mimic tree branches or vines. By day, you could admire its handcrafted textures. At night, it was transformed. “The beautiful figure came alive at night with projection mapping by Jasper Mosher,” he says, referring to the faces, colors, and textures projected onto the surface, which changed the appearance at any given moment.

Brothers Alexander and Aric Waldman brought ethereal butterfly art to the forest with their beautiful installation titled Metamorphosis. “Vibrant with color and alive with movement, festival goers drew positive energy from Metamorphosis and were attracted to it like a moth to a flame,” Eugene recalls. “What also stood out was the positive energy and meaning that the Waldman brothers clearly displayed about their passion for Electric Forest. It’s all about the people, energy, creativity, and experience. And that love is apparent in this exquisitely crafted work of art.”

One of the most surreal experiences of Electric Forest 2025 was in the Dream Emporium, a multi-sensory experience that has been a staple of the forest since 2023. Imagined as a place for people to play and connect, every step had you questioning where the rabbit hole goes. Some found themselves stepping onto a talk show television set or into a room under the sea. “The Dream Emporium was filled with unlimited amounts of imagination and creativity,” Kim explains. “The interactive art drew people in, making them part of the art itself.”

The thoughtful vision that goes into making Electric Forest happen is a true labor of love, and we can’t wait to experience the art and music next year. “So much credit goes to Creative Director Nova Han, Forest Production Manager Brad Lyman, and the entire Electric Forest team for taking on such a massive project and executing at the highest level.”

Electric Forest is a multi-day music and arts festival that offers an otherworldly experience in a lush, wooded area called Sherwood Forest.

Alexander and Aric Waldman, “Metamorphosis” (Photo: Eugene Kim / My Modern Met)

While the music often takes center stage, the art installations are a can’t-miss part of the overall experience. Take a peek:

 

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One of the most surreal experiences was in the Dream Emporium, a multi-sensory experience imagined as a place for people to play and connect, every step had you questioning where the rabbit hole goes.

Photo: Alive Coverage/Electric Forest

Photo: Alive Coverage/Electric Forest

Photo: Eugene Kim / My Modern Met

Eugene Kim, Co-founder and Editor-in-Chief of My Modern Met, attended Electric Forest and captured footage inside of Dream Emporium.

 

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“Electric Forest may be known as a music festival,” Eugene says, “ but the amount of high-quality art installations found in Sherwood Forest and beyond was absolutely incredible.”

Photo: Eugene Kim / My Modern Met

Photo: Alive Coverage/Electric Forest

Photo: Alive Coverage/Electric Forest

Photo: Eugene Kim / My Modern Met

Daniel Popper, ‘Lady Vine' (Photo: Eugene Kim / My Modern Met)

Photo: Eugene Kim / My Modern Met

Photo: Eugene Kim / My Modern Met

The thoughtful vision that goes into making Electric Forest happen is a true labor of love, and we can’t wait to experience the art and music next year.

Photo: Eugene Kim / My Modern Met

Photo: Alive Coverage/Electric Forest

Photo: Alive Coverage/Electric Forest

“So much credit goes to Creative Director Nova Han, Forest Production Manager Brad Lyman, and the entire Electric Forest team for taking on such a massive project and executing at the highest level.”

Photo: Eugene Kim / My Modern Met

Electric Forest: Website | Instagram | Facebook | TikTok

My Modern Met granted permission to feature photos by Electric Forest.

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READ: Electric Forest 2025: Enchanting Art Installations Bring Creative Magic to the Lush Woods

Photo: © Trustees of the Natural History Museum

London’s Natural History Museum has recently opened an immersive experience featuring the legendary Sir David Attenborough. Titled Our Story with David Attenborough, the 50-minute-long presentation brings the walls and floor of the Jerwood Gallery to life. It’s teeming with 360 degrees of animations, projections, and real-world footage, all narrated by Attenborough and accompanied by a score from Tony Award and Olivier Award-nominated composer Nick Powell.

This incredible exhibition takes visitors down a narrative path. “In this new immersive experience at the Natural History Museum, we explore two stories,” Attenborough explains, “the 4-billion-year epic of the Earth, and our own, relatively brief chapter, the story of humankind. These two stories are not, at this moment, aligned—but they could be. My hope is that anyone visiting the Our Story experience will come to understand how important humanity is in writing the planet’s next chapter.”

Our Story with David Attenborough marks the Natural History Museum’s first-ever immersive experience and was done in collaboration with Open Planet Studios. While there, attendees bear witness to the emergence of Homo sapiens, commune with gorillas (our closest relatives), and discover how we’ve impacted—including our recent efforts to protect—the great whales of the oceans.

The experience is an awe-inspiring look at the Earth and a sobering examination of the environmental impact of humans. The Natural History Museum hopes that it will inspire more advocacy for the planet's health. When we can immerse ourselves in what’s at stake, it will help us move differently through the world in a way that aligns with a more sustainable future.

Tickets are available for Our Story with David Attenborough through January 18, 2026. Visit the Natural History Museum's website to reserve one.

London’s Natural History Museum has recently opened an immersive experience featuring the legendary Sir David Attenborough.

Photo: © Trustees of the Natural History Museum

Titled Our Story with David Attenborough, the 50-minute-long presentation brings the walls and floor of the Jerwood Gallery to life.

Photo: Open Planet Studios, Photographer Gavin Thurston

Photo: Open Planet Studios, Photographer Gavin Thurston

It’s teeming with 360 degrees of animations, projections, and real-world footage.

Photo: © Trustees of the Natural History Museum

This incredible exhibition takes visitors down a narrative path.

Photo: © Trustees of the Natural History Museum

“In this new immersive experience at the Natural History Museum, we explore two stories,” Attenborough explains, “the 4-billion-year epic of the Earth, and our own, relatively brief chapter, the story of humankind.”

Photo: © Trustees of the Natural History Museum

“These two stories are not, at this moment, aligned—but they could be. My hope is that anyone visiting the Our Story experience will come to understand how important humanity is in writing the planet’s next chapter.”

Photo: © Trustees of the Natural History Museum

Get a peek into the experience here:

 

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Exhibition Information:
Our Story with David Attenborough
June 19, 2025–January 18, 2026
Natural History Museum
Cromwell Rd, South Kensington, London SW7 5BD

Natural History Museum: Website | Instagram | Facebook

All images via Natural History Museum. 

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READ: Sir David Attenborough Narrates Immersive ‘Our Story’ Experience at London’s Natural History Museum

Bonsai outdoors, displayed in Magnolia Plaza. (Photo: Jeremy Weine)

The Brooklyn Botanic Garden (BBG) is celebrating the 100th anniversary of its renowned bonsai collection. It’s one of the oldest and largest collections on public display outside of Japan, having been established in 1925 and now comprising over 400 plants. BBG’s celebration began on June 14, 2025, and it goes through October 19, 2025. During that time, there will be an expanded display of specimens—including a selection of the garden's smallest bonsai—along with gardening demonstrations and ticketed sake dinners.

“Brooklyn Botanic Garden has been the proud caretaker of this remarkable bonsai collection for 100 years, fostering a practice that is equal parts horticulture, art, design, and patience,” says Adrian Benepe, president of Brooklyn Botanic Garden. “We are excited to see even more of these miniature trees—true works of art—displayed this year, including outdoors amid full-sized trees for a stunning comparison.”

Bonsai is translated from Japanese as “planted in a tray.” They are often designed to depict trees as they would naturally grow, and almost any tree can be trained into bonsai with the right kind of thought, pruning, and care. Frank Masao Okamura was BBG’s first exclusive bonsai curator, with a long tenure lasting from 1947 to 1981. He was instrumental in developing the collection as it is today and grew bonsai from unusual plants, including tropics and semi-tropicals.

The bonsai collection is housed in the C.V. Starr Bonsai Museum, and the anniversary is an opportunity to interpret the collection in new ways. “I change the display often and bring in flowering and fragrant trees as much as possible so that the visitor’s experience is always fresh and exciting,” says BBG’s C.V. Starr Bonsai Museum gardener David Castro. “We have so many bonsai and this is such a rare collection, it’s easy to display something different.”

All exhibits and tours to the BBG’s bonsai centennial programs are free with admission. You have until October 19, 2025, to see this special display.

The Brooklyn Botanic Garden (BBG) is celebrating the 100th anniversary of its renowned bonsai collection.

Visitors admire the C.V. Starr Bonsai Museum. (Photo: Michael Stewart)

It’s one of the oldest and largest collections on public display outside of Japan, having been established in 1925 and now comprising over 400 plants.

American larch with fall foliage in the C.V. Starr Bonsai Museum. (Photo: Michael Stewart)

BBG’s celebration began on June 14, 2025, and it goes through October 19, 2025.

Blue atlas cedar in the C.V. Starr Bonsai Museum. (Photo: Michael Stewart)

During that time, there will be an expanded display of specimens.

“Fudo” (sargent juniper) in the C.V. Starr Bonsai Museum. (Photo: Michael Stewart)

The C.V. Starr Bonsai Museum in autumn. (Photo: Michael Stewart)

Frank Masao Okamura was BBG’s first exclusive bonsai curator, with a long tenure lasting from 1947 to 1981.

Frank Okamura, the Garden's first bonsai curator.

All exhibits and tours to the BBG’s bonsai centennial programs are free with admission.

BBG's Bonsai House, circa 1965.

Brooklyn Botanic Garden: Website | Instagram | Facebook

All images via Brooklyn Botanic Garden.

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READ: Brooklyn Botanic Garden Is Celebrating 100 Years of Its Renowned Bonsai Collection