The 78th Volume of Hi-Fructose is here.
The New
Contemporary
Art Magazine
Hi-Fructose is a quarterly print art magazine founded by artists Attaboy and Annie Owens in 2005. Hi-Fructose focuses squarely on the art which transcends genre and trend, assuring readers thorough coverage and content that is informative and original. Hi-Fructose showcases an amalgamation of new contemporary, emerging as well distinguished artists, with a spotlight on awe inspiring spectacles from round the world.
Good Morning. Don’t worry, the horrifyingly childlike work of Taylor Anton White isn’t here to comfort you.
@taylor.a.white
We’ve added a new back issue bundle which includes 6 hard to find issues (over 700 pages of Hi-Fructose) and thanks to our firiends at Last Gasp, a bonus item, plus we cover the damn shipping. Will you get the Gary Baseman, Ferris Plock or Travis Lampe kiss cut sticker sheets? Or perhaps a set of velvet prints by Skinner, Junko Mizuno and Martin Ontiveros? Or an accordion sticker book or a Snow Yak Mask by Mark Ryden? Donno, as they are randomly pre packed. Supplies are limited.
Perhaps Sarah Duyer’s ceramic sculpture Tis just a curio or a butter slicer or… perhaps it’s the coziest warning for a very select subset of out of touch people?
@sarahduyer
MEMENTO MORI 💀 🥀
Very Interesting process video of oil painting on printed fabric from Sydney Swisher. Anyone else paint on fabric or wallpaper?
@sydswisher
#oilpainting #fabricpainting
With vibrant blues and neon oranges, over a hundred artists display a diverse array of artworks for the Pangeaseed support show at @111minna The show, which opens tonight in San Francisco, lends it support to the international ocean nonprofit which supports ocean conservation.
Rising Tides includes painting, printmaking, sculptures, graphic prints, murals, storytelling, films, panel discussions and interactive experiences, the exhibition highlights the vital role art plays in advancing ocean literacy and inspiring meaningful environmental action.
“Rising Tides is a love letter to the ocean and to the power of creativity,” says Tré Packard, Founder and Executive Director of PangeaSeed. “Science gives us the facts, but art moves the heart. When creativity and community come together, we create space for connection, awareness, and action. This exhibition is about harnessing that energy to protect what we love most.”
More at @pangeaseed and at @111minnagallery
Sometimes, Kayla Mahaffey works with models, either live or by photograph. Other times, they are people emerging from her mind, “a mashup of faces I can remember,” as she says. “When I don’t use a model, of course I do experiment a little bit more with coloring certain things or adding more elements into it,” she says. “With having an actual model, sometimes it might stay too close to the picture—where I’m just trying to paint them—so I can only stray away from that a little bit.”
One thing that carries through all her pieces, though, is her deftness in conveying multiple messages through faces. Mahaffey’s people say a lot—about dreams and goals, about frustration and persistence, about complicated feelings—without ever speaking. It’s the work of someone who seemingly has studied people for years. “Yeah, I’m a people-watcher,” she confesses with a laugh. “I feel bad, but I do people-watch a lot.”
She adds, “Maybe, I’m just checking out people’s expressions.”
You can now read the full article on @kaylamay_art now on Hi-Fructose
Coming from a family of creative women, Ross learned how to crochet at an early age, thanks to her grandmother. Then in middle school she tried to teach herself to knit via YouTube videos. “It went very badly,” she admits. “If you’ve ever tried that, it never goes well.” That’s when Ross’s mother stepped in and took her to a local yarn store, where the owner taught the young artist the basics of knitting.
Knitting became such a part of Ross’s life that, as a history major in college, she wrote her thesis on women’s knitting groups during World War I. “In a lot of ways, that’s something that’s always in the back of my head, that knowledge that this is a process that’s so rooted in tradition and history and groups of women getting together and sharing those things, but also talking and gossiping and having community with one another,” she says.
Despite her passion for knitting, Ross says that it took her some time to bring her work into the art sphere. “I talk a big game now about art, and knitting as art, but that was a slow journey because, for so long, I didn’t know that what I was making was art or that I could call myself an artist,” she says.
“Locally, in Oklahoma City, I was making friends and wanting to be a part of art opportunities here,” Ross explains. “So I shoved down the imposter syndrome a little bit and made a choice to call myself an artist and to call the work that I was making art and I started applying to local things and it just picked up from there.”
R we ad the full article by Liz Ohanesian on @id.knit.that now on Hi-Fructose.
Enjoy watching Parkith Winans build upon the happenstance impressions made by a freeform material.
@scumchoir
