Hi-Fructose Issue 73 is Coming. Here Is a Sneak Peek.
This issue features a plethora of issue exclusive articles, printed on fine art papers, HF 73 features a cover feature on Chet Zar, Amy Sherald’s American Sublime, the cardboard installations of NONAMEY, surrealistic painter Benjamin Spiers, the glitch filled landscapes of Alexis Mata, Marylou Faure’s brightly colored world, the deeply personal work of painter Celine Ducrot, the imaginative sculpted creatures of Brett Douglas Hunter, and a 16 page Special Insert Section on the work of outsider artist Stephane Blanquet. Plus a review of the new monograph of punk photographer Murray Bowles!
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Hi-Fructose 76 is Coming. Click Above to see sneak peeks from the next print issue.
Using careful arrangements of mirrors, lights, and negative space, James Nizam takes analog photographs that capture his ephemeral interventions. His simple arrangements of light beams evoke the Minimalist sculptures of the 1960s, yet Nizam's work is tangible only in the form of the resulting photo. With his geometric arrangements, he alters the way his audience views architectural spaces and draws connections between photography, design, and sculpture.
Maximo Reira has a background in painting, photography, and sculpture, the latter of which he applies to his innovative, functional furniture designs. For his new "Animal Chairs" series, he sculpted large, realistic animals such as octopi, rhinos, and whales, using part of their bodies to create a throne-like seat. Mostly monochromatic with a natural color palette, the chairs have an elegant and otherworldly quality to them.
Chaim Machlev is a Berlin-based tattoo artist originally from Israel whose captivating, geometric designs resemble the spiked images of cardiographs. Machlev works intimately with clients one-on-one in his private workshop where he creates custom designs suited to each person's body. Though his work appears somewhat digitized, he says he draws out each image entirely freehand before making it permanent. The lines and curves of each piece respond to the unique shape of each individual. As a result, Machlev never inks the same design twice.