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For three decades, Han Hsu Tung has managed to stop time. With his exquisite wooden sculptures, Tung freezes his subjects in mid-motion, pixelating limbs, faces, and entire bodies as if they’re buffering, awaiting the moment in which they may move once again. Recently, however, the Taiwanese artist has revisited how he represents movement entirely, opting instead to integrate it more literally.

All Beings is one such sculpture. The work, which, as of July 2025, is nearly complete, depicts what appears to be a bust of the Buddha, his eyes peacefully drawn shut even as pixels scatter across his face. Resting atop his head is another Buddha, alongside other ornamental details that have been meticulously carved into the soft wood. What distinguishes All Beings from Tung’s previous work is its mechanical elements: several of the sculpture’s components slowly glide in and out of place, with the bust’s head splitting in two as it ascends upwards. Similar to his other sculptures, All Beings simulates a glitch without relying upon digital interventions, but, of course, it takes it a step further. Here, that glitch is enacted in real time—not just in our own imaginations.

The artist has shared similar sculptures, including one in which a man stands rigidly and stares blankly ahead. His stiff posture doesn’t last long, as it’s interrupted by rhythmic movements in his chest and shoulders. These gestures resemble both breathing and the steady clack of piano keys, increasing the sculpture’s sense of poetry. Later, the man’s head also shifts, the right side of his skull easing up into the air as his bottom lips open like those of a marionette doll. Just like All Beings, Tung’s famous glitch effect becomes an animating force, where humans and technology merge into one singular being.

To learn more about the artist, visit Han Hsu Tung’s website and follow him on Instagram.

Han Hsu Tung has always incorporated glitch effects within his wooden sculptures, but his recent work takes it to the next level: they actually move.

 

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With these moving sculptures, Tung simulates a glitch without relying upon digital interventions and, unlike his static work, that glitch is enacted in real time.

 

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Han Hsu Tung: Website | Instagram

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READ: Exquisite Wooden Sculptures Move Like Real-Life Computer Glitches

 

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For years, Josh Gluckstein has fabricated cardboard sculptures of various animals, but his latest series may be his most ambitious yet. In what he calls a “cardboard museum installation,” the London-based artist has fashioned several distinct scenes of coral reefs, each of which center marine species. Their massive scale and lavish details aren’t the only things that distinguish these new sculptures—at nearly every step, Gluckstein cataloged the process behind their production.

One video, for instance, showcases Gluckstein’s largest cardboard turtle to date, mounted atop a rotating reef base complete with vibrant corals. To sculpt this massive Hawksbill turtle, Gluckstein first traced its shell on flat cardboard, meticulously cutting out the shape and building upwards with additional cardboard scaffolding. He employed a similar technique for the turtle’s head, later painting the creature with a decadent, reptilian pattern. Unlike its scales, which are fairly precise and segmented, the turtle’s shell seems more abstract, the colors fluidly melting into each other as if mimicking a glossy surface.

Another video outlines how Gluckstein created a whale shark and dugong, both of which are as monumental as they are intricate. Unlike the Hawksbill turtle, the whale shark and dugong receive intricate backdrops that reach up toward the ceiling, peppered with a colorful assortment of sea sponges, corals, and other underwater plants. Beneath the dugong, Gluckstein even included small, yellow-striped fish, further enhancing the sense of immersion and world building. When staged next to one another, these sculptures shape a decadent ocean landscape, where every nook and cranny offers something to be discovered.

“Animals have always been a central theme in my artwork,” Gluckstein has written of his practice. “Inspired by my extensive travels and volunteering through Asia, East Africa, and South America, I have sought to capture the presence of some of the most majestic animals I’ve seen in the wild.”

But these sculptures aren’t simply homages to those “majestic animals.” They also offer a clever solution to art production while biodiversity faces tremendous threats from the ongoing climate crisis. Gluckstein’s work is, in many ways, a form of recycling, repurposing and reimagining the limits of cardboard even after their functionality or purpose has waned.

“Sustainability is at the heart of my practice,” the artist explains. “The accessibility and versatility of cardboard, with its many tones and textures, allow me to capture unique details and raw emotion, all while creating zero waste.”

To learn more about the artist, visit Josh Gluckstein’s website and follow him on Instagram.

London-based artist Josh Gluckstein has created more immersive seascapes, each swarming with a vibrant cast of cardboard animals.

 

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For years, Gluckstein has fashioned such cardboard animals and scenes, all in the effort to maintain a sustainable practice.

 

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Instead of being secretive about his creative process, Gluckstein consistently showcases step-by-step videos in which he fabricates his dazzling creatures.

 

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Josh Gluckstein: Website | Instagram

My Modern Met granted permission to feature media by Josh Gluckstein.

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READ: Artist Creates Immersive Marine Seascapes Swarming With Cardboard Animals

 

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Nestled in Basel’s De-Wette Park is something unexpected: several panes of glass, each shattered and irregularly stacked against a transport rack. Titled Morphogenesis, the installation is the latest from Swiss artist Simon Berger, who, for years, has manipulated glass through breaking, cracking, and hammering to produce dazzling and ephemeral portraits. Morphogenesis is no exception, and, as the artist himself says, marks a “new chapter in my exploration of glass as a medium.”

Like much of Berger’s work, the magic of Morphogenesis involves movement. At one moment, the sculpture betrays very little, simply catching the sunlight or reflecting the trees, sky, and buildings around it. At another moment, a woman’s face peers through the glass, etched into the surface through Berger’s meticulous hammering. Depending on distance, Berger explains, the portrait either “emerges clearly or dissolves,” insisting that its viewers engage with it from multiple angles and vantage points. This sense of fluidity is also highlighted by the installation’s title, Morphogenesis, which comes from the Greek words for “form” and “creation.”

“It’s a reference to the physical act of shaping new, organic forms through impact,” Berger writes of the artwork. “Through this piece, I wanted to challenge not only the limits of the material, but also the way we perceive form, emotion, and context.”

Functionality comes into play as well. Morphogenesis incorporates two materials often associated with industry, including glass and a transport rack, and reimagines them into “expressive tools,” per Berger. And, while such industrial elements typically imply a level of control, here they’ve submitted to chance. After all, to crack glass is to accept that not every stroke will be perfect.

“Human faces have always fascinated me,” Berger says of his subject matter. “On safety glass, they come into their own and magically attract the viewer. It’s a process of discovery from abstract fogging to figurative perception.”

The faces in Berger’s glasswork emerge quietly, slowly, as if haunting the surfaces in which they were carved. That delicacy presents a fascinating juxtaposition to the vigor and energy required to break glass in the first place.

“Destruction shapes into a form of drawing while the break becomes the mark,” Berger adds, in reference to Morphogenesis. “In this way, the work resists fixed meaning—rather, it lives in flux, redefined continually by light, context, and time.”

To learn more about the artist, visit Simon Berger’s website and follow him on Instagram.

A new sculpture by Simon Berger features several panes of shattered glass that are irregularly stacked against a transport rack, revealing a woman’s face when viewed at different angles.

 

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Throughout his work, Berger often creates portraits etched into glass, which he hammers, cracks, and shatters.

 

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These sculptures are dazzling displays of light and transparency, showcasing Berger’s tremendous control over movement, perspective, and context.

 

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Simon Berger producing a new artwork at Aurum Gallery, Bangkok, in 2022. (Photo: Aurum Gallery via Wikimedia Commons, CC 4.0)

Simon Berger: Website | Instagram

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READ: Artist Creates Dazzling Portrait by Layering Shattered Glass

“The Block,” 2023.

There are countless ways to describe New York, but Danny Cortes typically veers toward words like “fast,” “layered,” “gritty,” and even a “little messy.” For the Brooklyn-based artist, though, “authentic” is perhaps the most important descriptor for the city in which he was born and raised. By design, it also happens to be the guiding principle behind his work.

Once a pandemic pastime, and now the basis of his creative practice, miniature modeling has allowed Cortes to capture what he calls the “very essence and soul” of New York. These models encompass everything from city streets lined with classic five-story walk-ups and storefronts to ice machines splattered with graffiti and stickers. Regardless of what they depict, Cortes’ urban scenes embody the singular character of a city that has shifted under the weight of gentrification across the past few decades. Few neighborhoods exemplify this evolution better than Bushwick, where Cortes has lived throughout most of his life.

“Bushwick raised me—it was raw, loud, and full of culture,” Cortes tells My Modern Met. “Now, it’s changing fast. A lot of what I knew growing up is gone.”

How, then, can we preserve the memory of a specific place, particularly when the city’s rapid pace constantly revises what we once knew? Cortes’ solution—miniature models—offers settings that are unquestionably frozen in time, showcasing a past that, despite it all, is still embedded in the fabric of New York.

“[My models] preserve moments in history, snapshots of communities, cultures, and everyday life that risk being forgotten or erased, especially in rapidly changing places like Brooklyn,” Cortes adds. “In this way, my models become more than just representations—they serve as vessels of memory and cultural preservation.”

My Modern Met had the chance to speak with Danny Cortes about his artistic process, the importance of his work as it relates to cultural memory, and his relationship to Brooklyn. Read on for our exclusive interview with the artist.

What originally compelled you about miniature models?

I originally took up miniature modeling as a pandemic pastime, but soon a voice told me this was my true calling. What drew me in was the intimate process of recreating spaces on a small scale. It’s not just about achieving visual accuracy; it’s about capturing the very essence and soul of a place.

Growing up in Brooklyn, I was surrounded by neighborhoods full of life, stories, and constant change. Miniatures give me the chance to slow down and notice the details that often go overlooked, allowing me to connect more deeply with the environments that shaped my experiences. This artistic process lets me explore my memories and identity growing up in New York City in a uniquely personal way. After all, every building in this city began as a small drawing before becoming the structure we know today. I’m simply recapturing its uniqueness and spirit through my work.

What is the process of creating one of your models, and what materials do you use most frequently?

Many of my pieces incorporate recycled materials, making my work unintentionally environmentally conscious. I’m naturally drawn to what’s available and adaptable. My creative process starts the moment I step outside and observe the world around me. I mentally map out a grid of the environment, seeing buildings, streets, and objects through a fresh perspective.

While others might find a building too large or complex to replicate, I immediately begin imagining how to recreate it on a smaller scale using everyday materials. For example, kebab skewers, straws, and other simple objects help me mimic architectural details. I often use wood, metal, and wire to bring my miniatures to life, but each piece is truly unique.

How has your upbringing in New York influenced your practice, and how do you imbue the city’s character throughout your work?

Growing up in New York taught me how to navigate the chaos, noise, and constant motion of the city with creativity. The city raised me with its grit and glamour, its noise and stillness, its decay and growth. Those dualities have deeply shaped how I create my art. I didn’t grow up with formal training, but I had the streets, the storefronts, the stoops, the handwritten signs, and the energy of people always reinventing themselves.

In my work, I aim to capture the raw personality of the city, not the polished version you see in movies or tourist shops, but the layered, imperfect, and authentic one. I focus on hand-painted signs, crooked awnings, cluttered shop windows, the kinds of details that speak louder than any skyline. My miniatures don’t just represent New York visually; they embody their raw emotions. Fast, loud, layered, a little messy, and always full of character.

What role does site specificity play throughout your art, and how important, if at all, is it for you to reimagine New York cityscapes with precision?

Every time I walk through the city, whether it’s on my daily walks in the Lower East Side, heading to my studio in Williamsburg, or just moving through different neighborhoods, something always catches my eye. It could be something as simple as an old ATM covered in stickers and graffiti; but to me, that’s part of the city’s visual language and identity.

Site specificity plays a huge role in my work. I take what I see and filter it through my own imagination, creating a version of New York that’s shaped by personal memory and artistic freedom. I don’t aim for strict precision; I aim for authenticity. My models reflect the grit, energy, and personality of the city.

I include elements like graffiti, weathering, and tags, using my own visual rules. For instance, I once made a miniature version of the iconic Mr. Softee truck and added my own stamp to it. Even my bodegas and corner stores often reference the 1990s, inspired by the ones I grew up around, but I reimagine them as something uniquely mine, like “Cortes Grocery.”

Your models have previously been called “time capsules.” Do you find this to be an accurate assessment of your art?

Yes, I believe “time capsules” is a powerful way to describe my models. They preserve moments in history, snapshots of communities, cultures, and everyday life that risk being forgotten or erased, especially in rapidly changing places like Brooklyn, where many neighborhoods have undergone profound gentrification over the past 30 years.

Each miniature I create tells a story, capturing not only the physical environment but also the deep emotional connections tied to it. In this way, my models become more than just representations, they serve as vessels of memory and cultural preservation.

Bushwick has undergone tremendous changes since the ’80s and ’90s. How has that evolution impacted your art, and your relationship with the neighborhood?

Bushwick raised me—it was raw, loud, and full of culture. Now, it’s changing fast. A lot of what I knew growing up is gone. That’s why I try to preserve it through my work to honor where I come from and show people the soul that’s still there.

“The Block” during an auction at Sotheby’s. (Photo: Gabriele Holtermann)

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

I want people to walk away with a sense of curiosity and playfulness, like they’re seeing the city through a different lens. My work isn’t just about nostalgia or preservation; it’s also about imagination and possibility. By shrinking the scale of something as massive and chaotic as New York, I hope to make it feel more personal, approachable, and even a bit surreal.

I hope it encourages people to pause and really look at their surroundings. To notice how the city functions not just as a physical space, but as a living, breathing organism filled with emotion, history, and constant transformation.

Danny Cortes: Website | Instagram

My Modern Met granted permission to feature photos by Danny Cortes.

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Photo: Canarina via Wikimedia Commons (CC BY-SA 3.0)

In Roman mythology, Neptune is the god of the sea. That's why there is no better place for a sculpture of this deity than in the actual ocean. In front of Melenara Beach, in Gran Canaria (one of Spain's Canary Islands), a statue of Neptune seems to rise above the waves. The sculpture greets those who venture into his maritime domains, creating a powerful sight in this popular tourist destination.

The sculpture, known as Neptuno del Puntón (“Neptune of tip”) or Neptuno saliendo del mar (“Neptune emerging from the sea”) was created by late Spanish artist Luis Arencibia. The sculptor was originally from Telde, a city located not far from where the Neptune statue sits today. The piece was installed in September 2001 and stands 13.8 feet tall. As the tide rises and falls, the statue sitting in the sea disappears and reemerges.

While its placement is certainly a creative choice, it has come with its unique set of problems. Throughout the years, children have climbed the sculpture, wearing it down in the process, and this is on top of the damage caused by the constant striking of ocean waves. In 2010, a storm in the area resulted in the sculpture losing an arm and its trident, which were only replaced in 2017 at a cost of €23,184 (about $26,800). This restoration featured reinforcing the statue with stainless steel bars and welding it to the rock where it stands. Additionally, it has been covered with grease to prevent people from climbing it.

Spanish journalist Luis León Barreto describes the sculpture as “a Neptune at the same time beneficent and frightening, fierce and gentle, vigilant and playful.” He also recounts how locals say that Neptune's hollow eyes glow in the dark in a ghostly manner—evoking the centuries-old human need for a transcendental being to guide them out of the darkness. “Well: for this Gran Canarian littoral the mythological god is already a favoring being. His trident is a sign of courage and resolution in the face of adversity,” Barreto writes. “It has taken root to such an extent that it is almost a lighthouse on the horizon.”

If you're ever in Gran Canaria, you can see the Neptune sculpture from the Melenara Pier or the beach of the same name. For more precise directions, you can find it on Google Maps as “Dios Neptuno.”

In the meantime, scroll down for more stunning images of these remarkable public sculpture.

In front of Melenara Beach in Gran Canaria (one of Spain's Canary Islands), a statue of Neptune seems to rise above the waves.

 

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Una publicación compartida por ↟ ᴬⁿᵈʳᵉᵃ ᶜᵃᶜᶜᶦᵃᵗᵒʳᶦ ↟ (@dronextravelxearth)

Created by late Spanish artist Luis Arencibia, the piece was installed in September 2001 and stands 13.8 feet tall.

 

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Una publicación compartida por ↟ ᴬⁿᵈʳᵉᵃ ᶜᵃᶜᶜᶦᵃᵗᵒʳᶦ ↟ (@dronextravelxearth)

The sculpture is known as Neptuno del Puntón (“Neptune of tip”) or Neptuno saliendo del mar (“Neptune emerging from the sea”).

 

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Una publicación compartida por ↟ ᴬⁿᵈʳᵉᵃ ᶜᵃᶜᶜᶦᵃᵗᵒʳᶦ ↟ (@dronextravelxearth)

The statue's placement in the sea is a creative choice that has drawn the attention of many locals and tourists, but it has also come with its own unique set of problems.

 

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Una publicación compartida por María Cristina López Umpiérrez (@mariacristinaluphoto)

In 2010, a storm in the area resulted in the sculpture losing an arm and its trident, which were finally replaced in 2017.

 

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Una publicación compartida por Cinéfilos (@cinefilosoficial)

If you're ever in Gran Canaria, you can see the Neptune sculpture from the Melenara Pier or the beach of the same name.

 

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Una publicación compartida por Jose Anton (@jose_nt)

Sources: Neptuno saliendo del mar en Melenara; Esta es la historia de la estatua de Neptuno de Melenara; Luis Arencibia y el Neptuno de Melenara

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READ: Neptune Sculpture Disappears and Reappears With Rising and Lowering Tides

 

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Around the world, countless folkloric stories concern the origins of the sun and the moon. In Korea, that folktale involves a brother and a sister who, as they scramble to escape a wild tiger, discover an iron ladder sent down to them by the Sky God. As they ascend toward the sky, the pair transform into the sun and the moon, and, soon after, the tiger is punished, his blood spilled over a sorghum stalk. This is the myth that inspired Haegue Yang’s latest installation at the Cleveland Museum of Art, elegantly weaving together cultural storytelling, movement, and sound.

At first glance, Sonic Cosmic Rope is deceptively simple, hanging vertically from the museum’s ceiling and composed only of tiny bells connected with rings. Activate the sculpture through touch, however, and its bells suddenly peal out in response, echoing through the gallery with a hollow and almost haunting timbre. This metallic rattling is not merely acoustic but visual as well, with the bells gently fluttering and shifting to accommodate shaking, hitting, and brushing. When taken together, both the tactile and sonic elements of Sonic Cosmic Rope mimic the brother and sister’s journey up the mythological ladder. Just as sound snakes up Yang’s rope, so too do the siblings themselves.

In its enormous yet pared-back presentation, Sonic Cosmic Rope seems ancient, reminiscent of a shrine that invites visitors to gather around it and listen carefully. Yang’s focus on sound also enhances this mythological atmosphere, referencing how, throughout history, oral and folkloric traditions often intertwine. Here, an iconic folktale is stripped back to its most essential parts, told not through a person’s voice but through their actions, which, in turn, triggers the gentle reverberations of the sculpture’s bells.

Much of Yang’s artwork reimagines mundane objects like yarn, light bulbs, and, in the case of Sonic Cosmic Rope, bells into more monumental and complex projects. In Clowny Yin Yang, for instance, Yang repurposes aluminum Venetian blinds, creating what resembles a massive, mechanical chandelier. Strange Fruit, on the other hand, showcases tangles of electric cords, cables, and light bulbs, mixing together a naturalistic theme with technological materials. Yang’s practice also revolves heavily around participatory and performative gestures.

Though Sonic Cosmic Rope can’t be touched by museum visitors, the Cleveland Museum of Art is currently offering docent-led tours, where the artwork is activated by a staff member. Tours are available through June 25, 2025, and can be reserved via the CMA website.

Haegue Yang’s Sonic Cosmic Rope beautifully weaves together folklore, sound, and movement, and is currently on view at the Cleveland Museum of Art.

 

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Haegue Yang: Website | Instagram
Cleveland Museum of Art: Website | Instagram

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Details of “La Manda”

There are 68 languages spoken throughout Mexico; most of them are Indigenous. Many of these languages are now endangered, as few speakers of them continue to age and there are scarce resources to teach them to new generations. Aware that each language contains a world of its own, artist Ana Hernández is making a plea for their survival with a touching piece titled La Manda.

In Mexican culture, particularly in the Catholic circles, a manda is an act of faith. A person in need vows to fulfill a promise—whether it's making a pilgrimage, performing an act of service, or sacrificing an offering. In Hernández's manda, the artist prays for these languages; for the memory of those gone extinct, for the endurance of those spoken today, and the perseverance of those that will continue to be spoken for generations to come.

La Manda, which made its debut at Zona Maco 2025, is made up of two metal spirals that hang from a chain attached to the ceiling, evoking a chandelier. In these metallic swirls, the artist has engraved a manifest regarding these endangered languages in Zapotec—a family of languages spoken mostly in the state of Oaxaca, where Hernández hails from. In the snail-like structure, the artist asks questions such as: Who took my language away?; How many have lost their language?; and What road is there for us if we don't have a language?; before ending with a hopeful statement—My language didn't die with my grandmother. It is only asleep.

From these metal “ribbons,” 68 yellow-orange candles decorated with tiny seashells—one for each language—hang by their wicks. The shell motif plays a key role in the piece due to its multiple meanings. In ancient Aztec codes, the spoken word was depicted as speech bubbles with a coiled end, becoming a symbol of communication. For Hernández, the swirls in the shell also depicts an infinite labyrinth, imagining an endless path for these languages.

The candles also carry a message of community, a key part in making these languages thrive. The candles pay tribute to the “labrada de cera” (sculpting of wax), a local ritual in which people gather to make the candles to be used for different celebrations. The use of naturally sourced materials, such as bee wax, sea shells, and thread from organic fibers, also speaks to the vulnerability of the natural world—and how it's not just languages that are at stake.

“The being is constructed from language; by losing the worlds contained in each word, constitutive elements of peoples, cultures, and communities are extinguished,” reads Hernández's artist statement.

To stay up to date with her work, follow Ana Hernández on Instagram.

Mexican artist Ana Hernández makes a plea for the survival of endangered Indigenous languages in a touching piece titled La Manda.

“La Manda”

In Mexican culture, particularly in the Catholic circles, a manda is an act of faith. A person in need vows to fulfill a promise, whether it's making a pilgrimage, performing an act of service, or sacrificing an offering.

Details of “La Manda”

In Hernández's manda, the artist prays for these languages; for the memory of those gone extinct, for the endurance of those spoken today, and the perseverance of those that will continue to be spoken for generations to come.

Details of “La Manda”

La Manda is made up of two metal spirals, where the artist has engraved a manifest in Zapotec—a family of languages spoken mostly in the state of Oaxaca, where Hernández hails from.

Details of “La Manda”

From these metal “ribbons,” 68 yellow-orange candles decorated with tiny seashells—one for each language spoken in Mexico—hang by their wicks.

Details of “La Manda”

“The being is constructed from language; by losing the worlds contained in each word, constitutive elements of peoples, cultures, and communities are extinguished.”

“La Manda” at Zona Maco

Ana Hernández: Instagram

My Modern Met granted permission to feature photos by Ana Hernández.

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READ: Artist Makes Plea for Endangered Indigenous Languages With Powerful Chandelier-Like Piece

@adu.miniature.model Lost architecture reimagined in miniature. Let the past speak again!#miniaturemodel #model #miniature ♬ 原聲 – A Du Custom Miniature Models

Miniature art has a unique way of capturing the imagination, transforming real-life spaces into tiny, handcrafted worlds rich with detail. Chinese artist A Du is a master at turning homes and buildings into scaled-down replicas filled with thoughtful architectural details, tiny figures, and little props.

A Du is based in Changchun, the capital of Jilin province in northeast China. He draws inspiration from his childhood and his own surroundings, recreating neighborhood homes and government buildings as incredibly detailed dioramas. Using a variety of tools and materials, every inch of his models is hand made.

While A Du often uses photographs of architectural subjects as references for his miniature recreations, many of his models are built entirely from memory. In one video documenting his process of crafting an old courtyard with a miniature wooden cart, he reveals (via translation): “Although the old courtyard was demolished nearly 20 years ago, my memory remains vivid, because it holds all my childhood memories.”

When he’s not working on personal projects, A Du works on commissions. For one recent project, he recreated the childhood home of a friend’s grandparents, where he grew up. The diorama depicts a house in Chifeng, Inner Mongolia, complete with an inner courtyard, a group of tiny chickens, and more adorable details. It took him around two months to complete. Speaking about the his friend, A Du shared, “Both of his grandparents have passed away, and he misses them deeply. He wanted to order a set of miniature models to express his nostalgia for them.”

A Du’s incredible work offers a unique way to preserve cherished places and memories in stunning detail. Check out some of his miniature models below and follow A Du on TikTok for more.

Chinese artist A Du is a master at turning homes and buildings into scaled-down replicas filled with thoughtful architectural details.

@adu.miniature.model #miniaturemodel #models #miniature #Handmade #shrinking ♬ 原聲 – A Du Custom Miniature Models

@adu.miniature.model Art distilled from the past—each stroke bears history’s mark.#miniaturemodel #models #miniature ♬ 原聲 – A Du Custom Miniature Models

His incredible work offers a unique way to preserve cherished places and memories in stunning detail.

@adu.miniature.model Each model holds a story that preserves memories forever.#miniaturemodel #models #miniature ♬ 原聲 – A Du Custom Miniature Models

He often draws inspiration from his childhood and everyday surroundings, meticulously recreating familiar neighborhood homes and buildings.

@adu.miniature.model Meticulously aged, capturing the beauty of yesteryears.#miniaturemodel #models #miniature ♬ 原聲 – A Du Custom Miniature Models

@adu.miniature.model Crafted with passion, every detail holds hometown love.#miniaturemodel #models #miniature ♬ 原聲 – A Du Custom Miniature Models

@adu.miniature.model Tiny models, immense sentiment—witness the passage of time in your collection.#miniaturemodel #models #miniature ♬ 原聲 – A Du Custom Miniature Models

@adu.miniature.model Where artisan care meets time—each model echoes heartfelt history.#miniaturemodel #models #miniature ♬ 原聲 – A Du Custom Miniature Models

@adu.miniature.model Each lovingly crafted model takes you through a tunnel of time.#miniaturemodel #models #miniature ♬ 原聲 – A Du Custom Miniature Models

@adu.miniature.model A miniature piece, a snapshot of time—filled with warmth and emotion.#miniaturemodel #models #miniature ♬ 原聲 – A Du Custom Miniature Models

@adu.miniature.model #miniaturemodel #models #miniature #Handmade #shrinking ♬ 原聲 – A Du Custom Miniature Models

A Du Custom Miniature Models: TikTok

All images via A Du Custom Miniature Models.

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READ: Artist Preserves Childhood Memories With Handmade Miniature Models of Historic Architecture

World-renowned glass artist Dale Chihuly is once again bringing his stunning sculptures to Michigan's Frederik Meijer Gardens & Sculpture Park. When CHIHULY at Meijer Gardens opens in May 2026, it will mark the third time that the glassmaker has exhibited his work at the Grand Rapids sculpture garden, capping decades of collaboration.

Meijer Gardens already counts several Chihuly pieces as part of its permanent collection, including a site-specific chandelier and sprawling installation in the museum's cafe. CHIHULY at Meijer Gardens will build on the artist's relationship with philanthropists Fred and Lena Meijer, whose dedication to the arts sparked the creation of this museum. With both indoor and outdoor installations, the exhibition will truly allow Chihuly to transform Meijer Gardens into a playground for his glass art.

“We are delighted to welcome Dale Chihuly back to Meijer Gardens,” says Charles Burke, president & CEO at Frederik Meijer Gardens & Sculpture Park. “His groundbreaking art creates unforgettable connections between nature, culture, and human creativity. Guests will be captivated by the dynamic interplay between Chihuly's spectacular art and our gardens' natural beauty.”

Presented by Macatawa Bank, the exhibition will run for six months, leaving the public plenty of opportunity to take in the magnificent artwork. According to the museum, the show will feature monumental outdoor installations such as Chihuly's towering glass sculptures, vibrant Reeds, and other breathtaking, site-specific artworks nestled within Meijer Gardens. Once inside, visitors will be treated to a wide range of work that showcase Chihuly's four-decades-long career, making this an exceptional retrospective.

In the coming months, Meijer Gardens will release further information about the artworks that will be included in the museum, but in the meantime, circle your calendar for May 1, 2026.

Frederik Meijer Gardens & Sculpture Park has announced a major exhibition by Dale Chihuly in 2026.

The renowned glass artist will transform interior galleries and exterior gardens into a playground for his art.

Exhibition Information:
CHIHULY at Meijer Museum
May 1, 2026 – November 1, 2026
Frederik Meijer Gardens & Sculpture Park
1000 East Beltline Avenue NE, Grand Rapids, Michigan (USA)

Dale Chihuly: Website | Instagram
Meijer Gardens: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Meijer Gardens.

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READ: Stunning Dale Chihuly Exhibition Coming to Sculpture Garden in Michigan

Artist Debra Bernier of Shaping Spirit can see faces in the most unlikely of places. Within pieces of driftwood, sun-bleached bones, and shells, she envisions figures and brings them to life using found natural materials. The carved sculptures often depict women, eyes closed and at peace, as they rest within the smoothed grooves of the finished and polished wood.

Bernier finds her raw materials on the shores of Vancouver Island, Canada. While many might struggle to imagine these elements as art, she always sees beyond the surface. “Pareidolia is a phenomenon where people see faces or animals in objects like clouds, rocks, or trees,” she tells My Modern Met. “As a child, I felt this all the time in my imaginative world. As I grew up I started to form these faces in clay and wood and bring my visions to life.”

Bernier's masterful craftsmanship and ability to imbue inanimate objects with personality are powerful; you can't help but feel that same sense of tranquility upon seeing her works. This is by design. “I hope my sculptures help people find their inner peace,” the artist shares.

Much of Bernier’s work evokes themes of fertility and motherhood, honoring and celebrating the maternal forces in our lives and environment. Her figures and emphasis on natural materials help to carry on a long tradition of Venus figurines. It’s unclear about the cultural meaning of these ancient pieces, but many believe that they are symbols of fertility or even representations of a mother goddess. The concepts are timeless, as we are still exploring them today.

Benier’s original works and prints are available in the Shaping Spirit Etsy shop.

Artist Debra Bernier of Shaping Spirit can see faces in the most unlikely of places.

Within pieces of driftwood, sun-bleached bones, and shells, she envisions figures and brings them to life using found natural materials.

The carved sculptures often depict women, eyes closed and at peace, as they rest within the smoothed grooves of the finished and polished wood.

Bernier’s masterful craftsmanship and ability to imbue inanimate objects with personality are powerful.

You can’t help but feel that same sense of tranquility upon seeing her works.

“I hope my sculptures help people find their inner peace.”

Shaping Spirit: Etsy | Instagram | Facebook

My Modern Met granted permission to feature photos by Debra Bernier.

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