Gisela Colon (born 1966) is an American international contemporary artist who has developed a unique vocabulary of Organic Minimalism,[1][2][3][4] breathing lifelike qualities into reductive forms.

[3] Colon's gender-fluid sculptures disrupt the traditional view of the masculine minimal object, by embodying qualities of energy, movement and growth, through a merger of industrial with the organic.

[9][6] Christopher Knight, art critic for the LA Times writes, "Sleek sculptural objects with misty, mercurial surfaces and at least partial inspiration from aerospace technology have not lost their appeal in more than half a century.

In Los Angeles, first there was Craig Kauffman, then Helen Pashgian and now Gisela Colon…..Colon's wall-bound " pods" [are created] in a variety of whimsical, organic shapes — lozenges, softened trapezoids and freeform globules — as if conceived with a kid's giant bubble wand.

"[3] In describing Colon's work in the historical context of California Minimalism and Light & Space movements, critic Dr. Suzanne Hudson states, "Colon's 'Glo-Pods,' 2013—, irregularly shaped wall mounted acrylic orbs, recall the languid organicism of Craig Kauffman's candy-colored bubbles; their intimation of light emanating from within the impossibly smooth contours additionally channels Helen Pashgian's illuminated monoliths.

"[9] Critic Steven Biller has stated that: "Without question, Colon's approach to shaping, forming, and coloring is advancing the trajectory of the resurgent Light and Space / Finish Fetish movement.

"[24] Art writer and biographer Hunter Drohojowska-Philp describes this phenomenon: "When the most recent iterations of the Glo-Pods are mounted on a white wall, the 'inherent mutability,' so desired as an effect by Colon, is indisputable.

"[26] Representing a new direction for Colon, the Monolith sculptures are 12-foot-tall iridescent pillars that "succeed in providing viewers with a dramatic perceptual experience...Radiant, elegant and pristine, [they] manage to be both strong and sensuous.

"[3] In 2017 Colon developed a series of standing sculptures referred to as "Light Slabs," 8-feet tall works with a light-activated core rendered in translucent acrylic and polished stainless steel.

[28] In 2020, Colon created Unidentified Objects, a body of work referencing cosmological origins and universal forces such as matter, energy, gravity, space and time.

Her site-specific project titled "The Future is Now," consisted of "a silver-bullet-like obelisk— curvy and iridescent on one side and, where the sun couldn’t shine, flatter and gray— represented the rare perfect fusion of art and setting.

Writing in The Art Newspaper, Anny Shaw remarks, “Linked to the Californian Light and Space movement as well as the land artists of the 1960s and 1970s, Colón views her role as ‘disruptor and challenger of the past canon where, traditionally, men created aggressive gestures, which were sometimes destructive towards the Earth’.

By appropriating traditionally ‘male-associated’ forms such as the phallus, bullets, missiles and rockets, and rendering them as ambiguous objects, Colón says she ‘subverts a complex framework of deeply held cultural semiotics’.”[32][33][34] In 2021 as part of a historic international exhibition at the 4500-year-old UNESCO site of the Pyramids of Giza in Cairo, Egypt, Colón installed a site-specific work, Eternity Now (Ellipsoidal Dome Gold Iridium) informed by the ancient Egyptians’ advancements in astronomy, science, art, architecture, mythology, and sacred geometries.

Resembling a glowing sun, the 30-foot (9 meter) long sculpture created of aerospace-grade carbon fiber, laid at the foot of the Sphinx and the Pyramids activating a direct dialogue across time with its historic and cultural surroundings.