Hi-Fructose Issue 77 Preview
The 77th Issue of Hi-Fructose features a cover and special insert section on Aron Wiesenfeld, the dark drawings of Denys Kulikov, the paintings of Rae Sheridan, the embroidery of Nengiren, the foreboding world of Candice Tripp, the quilted sculptures of Melissa Monroe, Lorenzo Tonda’s modern surrealism, Otani Workshop’s enigmatic sculptures, the expressive figurative paintings of Riikka Sormunen, Spookywoods and More!
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"Even though I would hope to be remembered as a portrait artist—canonizing the image of Indigenous people within art history—I am constantly set upon side quests,” says multidisciplinary Canadian artist Wally Dion.. read the full article by clicking above.
ear the dawn of the twenty-first century, Brian Dettmer was primarily a painter. But one day he embarked on a series of works where he applied the torn pages of newspapers and books to his canvases. “I liked the idea that the information actually existed there on the canvas, even though it wasn’t really readable,” he recalls on a recent phone call. “It became more of a visual archive.” Those collaged canvases led to sculptures made from stacks of books, which he would carve in ways where the alterations were not obvious until the viewer came close to the piece. While making one such sculpture, Dettmer noticed a landscape inside a book, carved around it and peeled back more pages. As he did that, a new figure emerged. “That was my eureka moment when I realized that this was an exciting process,” says Dettmer. “At the time, and even more so now, it seemed to make sense.” Twenty years later, Dettmer is best known for his elaborate book sculptures that have appeared in galleries, museums and universities across the United States. Read Liz Ohanesian's full article on the artist by clicking above.
“I was never interested in art. I never got into it,” says Daniel Martin Diaz on a recent phone call with Hi-Fructose. “I never looked at art books. I really, honestly, didn't even know basic things like surrealism like Dali or Escher existed until I was probably, I think, 18 or 19.” That was around the time when Diaz, the Tucson-based artist known for his precisely detailed illustrations merging seemingly disparate subjects like science and mysticism, stumbled into the art section of a library and came across 1920s surrealism. “I just knew when I saw that it just resonated with me so strongly that I just became obsessed by it.” Read the full article by Liz Ohanesian by clicking above.
