The 79th 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.
It’s hard to not to be inspired by mixed media artist Alina Kritarova
@_alina.krit_
For three decades, Harriet Mena Hill has been a resident of South East London. This area is known in the art world for its schools, such as the esteemed Camberwell College of Arts. But Hill and others who lived there for some time remember it as a historically working-class and, at times, impoverished area of the city. That impoverishment is what prompted the construction of one of Europe’s biggest social housing projects: the Aylesbury Estate, begun in 1963 and completed in 1977. In 2018, Hill’s work in arts education brought her to the site, and it led to a major shift in her broader artistic practice.
“The Estate had a notorious reputation—for drugs, violence, threats and intimidation,” Hill says. “My experience working there was a complete contrast to public perception. I encountered a group of highly engaged, positive and friendly young people eager to participate and who were very strong in helping each other. As an artist, I felt compelled to address the maligned reputation which had adversely affected the community for years, a portrait created and perpetuated through the media who had seemingly never bothered to discover the 360-degree truth about life on the estate.”
Read the full article on @harrietmena_hill by Andy Smith now on Hi-Fructose.
Use what ya got.
Pizza box art by Rob Draper.
@robdraper1
Back to it, wait for the end… ✍️⚡️
Hand drawn animations by Shihyen Huang make Wednesday feel like a Saturday.
@shihyen.huang
Marigold Santos’s spectral forms are as layered with detail as they are with metaphor. Swirling amid marbled backgrounds in a feverish dance, they serve as critical examinations of cultural injustice. Their textures materialize their celestial properties as they become fierce teachers of colonial violence, problematic histories, and forgotten ancestry. Covertly, her haunting figural silhouettes aim to illuminate the diasporic experience while intoxicating us with their arcane beauty.
Born in Manila, Santos immigrated with her family to Canada in 1988, and now binds together her rich cultural heritage with her art practice. “A common figure in my work is a fluid and ever-morphing body, sometimes made of woven material, sometimes patterned and shrouded in transparency, with careful attention to adornment and sartorial elements like large hats (salakot) and couture (Terno and camisa sleeves),” says the artist. Specifically, her figures are inspired by folkloric characters from the Philippines called aswang—shapeshifting monsters which typically represent evil. Humans by day, they transform into all manner of beast come nightfall, with a particular appetite for pregnant women, babies, and children. “There are many different kinds of aswang, and their characteristics change from region, era, and storyteller, but commonalities include shapeshifting, self-severing, and hybridity as a way to instill fear and create a cautionary tale,” she says.
Read the full article on @marigoldasantos by Zara Kand now on Hi-Fructose or experience it in print as our special insert section in our latest issue.
We’re looking forward to seeing an entire showing of works by Felicia Chiao in person this fall at @harmanprojects
“Her signature bald, naked protagonist seems to be a stand-in for all of us, taking in the wonder or other range of emotions in each piece”-Andy Smith (on Hi-Fructose)
Chiao was last featured on the cover of Hi-Fructose 72.
@feliciachiao
Hand painted editions by Daan Botlek.
@daanbotlek
Let’s take a studio visit with Hanna Flowers on the eve of her upcoming solo at Australia’s Beinart Gallery @beinartgallery and see how the artist incorporated antique objects into her paintings.
